tag:blogger.com,1999:blog-48657645961121006552024-02-20T21:01:07.872-05:00Carol Diehl's Art VentLetting the fresh air inCarol Diehlhttp://www.blogger.com/profile/09023589628710711343noreply@blogger.comBlogger499125tag:blogger.com,1999:blog-4865764596112100655.post-22279396370569520512021-12-12T22:47:00.001-05:002021-12-12T22:47:56.697-05:00On art writing--yesterday and todayThe other day, during a studio visit, the discussion turned to the sad state of art criticism, and I had to admit that my enthusiasm for writing about art for any venue has waned—and this has to do with a change in the attitudes of editors and, I guess, publishers, where the trust and freedom (as well as resources) allowed to writers in earlier times no longer exists. Consider that in the ‘90s, writing for Art and Antiques, I could just go interview an artist who interested me and see what happened, make it into something, a story not necessarily tied to a particular event. Or I’d have an idea, like ask four artists how they happened on the singular artistic vehicles that defined their work—Nam June Paik, James Rosenquist, Louise Nevelson, George Segal—and just go for it.
Later, I wrote for Art In America where, in 1999, with an agreement but no particular deadline, I could follow Robert Irwin around for the whole year it took to grasp and distill his philosophy into a cover story that Jenny Moore of the Chinati Foundation told me not long ago she uses to introduce visitors to his work. Then, in 2004, there was another fabulous six months visiting Olafur Eliasson’s studio in Berlin and seeing as much of his work as possible in England, Iceland, Norway, and Germany (mostly paid for by the magazine)—following his ground-breaking installation at the Tate Modern that put the artist and the museum on the map. This was long before Olafur had any survey exhibitions, and given that his work consisted of one-offs that could only be evaluated in person, a comprehensive article could not be written otherwise.
Now, it’s not only financial restrictions that intervene. An article must be scheduled for a particular issue, but to get even that far, you must submit a proposal outlining in advance what you’re planning to say. Well, I don’t write to express what I already think. I write to find out what I think. So f*ck it.
The following is a piece I did on Louise Bourgeois for Art and Antiques in 1995, which started in a serendipitous way. Louise hated interviews, so the minute I arrived with my tape recorder, she tried to put me off by saying I should get a particular book about her that included a number of quotations and come back and ask her about them. In one of the more satisfying moments of my writing life, I sat down, unzipped my backpack, and pulling out the list of quotes I’d prepared in just that way, asked, “Shall we begin?” After that we were friends, and the article became a true collaboration.
<a href="https://caroldiehl.com/node/42">MEMORY AND MEANING: LOUISE BOURGEOIS REFLECTS ON YESTERDAY AND TODAY
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Carol Diehlhttp://www.blogger.com/profile/09023589628710711343noreply@blogger.com0tag:blogger.com,1999:blog-4865764596112100655.post-88201660844495966672021-03-12T21:32:00.002-05:002021-03-12T21:42:42.890-05:00ARTSPEAK, continued<p><span style="caret-color: rgb(5, 5, 5); color: #050505; font-size: 15px; white-space: pre-wrap;"><span style="font-family: arial;">Among the objections to my “Artspeak” piece (leading to it being posted here and on Facebook on 3/1) instead of the art publication for which it was intended) was that I spent too much time “going after” Adriana Varejão’s corrupt ex-husband, Bernardo Paz, who built a pavilion for the Gagosian artist’s work in his art park, and that his “financial malfeasance has little to do with how the muddying of the language marketing the work helps sell it.” I was told that more than “one sentence” about it would “read to others as mean or vindictive.” </span></span></p><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="caret-color: rgb(5, 5, 5); color: #050505; font-size: 15px; margin: 0.5em 0px 0px; overflow-wrap: break-word; text-size-adjust: auto; white-space: pre-wrap;"><div dir="auto"><span style="font-family: arial;">Let’s not be too hard on the venal, okay?</span></div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="caret-color: rgb(5, 5, 5); color: #050505; font-size: 15px; margin: 0.5em 0px 0px; overflow-wrap: break-word; text-size-adjust: auto; white-space: pre-wrap;"><div dir="auto"><span style="font-family: arial;">And we wonder why the art world is the way it is. And why the world is the way it is. </span></div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="caret-color: rgb(5, 5, 5); color: #050505; font-size: 15px; margin: 0.5em 0px 0px; overflow-wrap: break-word; text-size-adjust: auto; white-space: pre-wrap;"><div dir="auto"><span style="font-family: arial;">Could I be the only one who sees irony in the fact that this shady monied background supported an artist who describes her art using the language of the “woke” as if to represent the oppressed classes? (i.e. her work being based, as the press release states, on “hybridity,” “decolonizing subjectivities” “mythic pluralism,” and “transnational exchange”).</span></div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="caret-color: rgb(5, 5, 5); color: #050505; font-size: 15px; margin: 0.5em 0px 0px; overflow-wrap: break-word; text-size-adjust: auto; white-space: pre-wrap;"><div dir="auto"><span style="font-family: arial;">Meanwhile, I came across this <a href="https://www.bloomberg.com/news/features/2018-06-08/the-financial-crimes-that-fueled-brazil-s-inhotim-museum">riveting Bloomberg article</a> from 2018, which begins by telling how, after 9/11, Paz rushed to NYC as the Twin Towers were burning to take advantage of the horror and chaos to buy art on the cheap, only part of an account of financial audacity that boggles the mind. The guy rivals Trump in his cheek but has better taste in art, which is what has redeemed him thus far.</span></div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="margin: 0.5em 0px 0px; overflow-wrap: break-word; text-size-adjust: auto;"><div dir="auto" style="caret-color: rgb(5, 5, 5); color: #050505; font-size: 15px; white-space: pre-wrap;"><span style="font-family: arial;">In my piece I quote a 2020 ARTnews article reporting that Paz was acquitted of money laundering charges, with his lawyer saying that it’s unlikely the government would appeal given that “the laundering occurred through a criminal organization that wasn’t part of Brazilian law until 2013, and the alleged wrongdoing happened some six years prior” —to which the lawyer adds, “Justice was done.” And I’m worried about artspeak?</span></div><div dir="auto" style="caret-color: rgb(5, 5, 5); color: #050505; font-size: 15px; white-space: pre-wrap;"><span style="font-family: arial;"><br /></span></div><div dir="auto" style="caret-color: rgb(5, 5, 5); color: #050505; font-size: 15px; white-space: pre-wrap;"><span style="font-family: arial;"><br /></span></div><div dir="auto"><span style="font-family: arial;"><div class="separator" style="caret-color: rgb(5, 5, 5); clear: both; color: #050505; font-size: 15px; text-align: center; white-space: pre-wrap;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPiVIXVNG_LQG5vj7qeMhmguChMlqm4rUyihZYkZq4B0vmRSDhmr8qgNuYeR-GYJlploFiEhL06KUgIsQs44Tab9KhpRzxy3C3aW6MiLw_s489rTjNt0GrugC9vAr_YaHo8jjEfP0Mp6A/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="750" data-original-width="600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPiVIXVNG_LQG5vj7qeMhmguChMlqm4rUyihZYkZq4B0vmRSDhmr8qgNuYeR-GYJlploFiEhL06KUgIsQs44Tab9KhpRzxy3C3aW6MiLw_s489rTjNt0GrugC9vAr_YaHo8jjEfP0Mp6A/w320-h400/image.png" width="320" /></a></div><br /><div style="text-align: center;"><figure align="left" class="figure-expandable" data-align="left" data-id="328371586" data-image-size="column" data-type="image" style="background-color: white; border: 0px; clear: both; float: left; font-family: PublicoText-Roman-Web, Georgia, Cambria, "Times New Roman", Times, serif; font-size: 18px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 40px; max-width: 450px; padding: 0px; vertical-align: baseline; width: 450px;"><figcaption style="border: 0px; font-family: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: 12px; margin: 4px 0px 0px; padding: 0px; vertical-align: baseline;"><div class="news-figure-caption-text caption" style="border: 0px; display: inline; font-family: BWHaasGrotesk-55Roman-Web, Helvetica, Arial, sans-serif; font-size: 12px; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: 15px; margin: 0px 8px 0px 0px; padding: 0px; vertical-align: baseline;">Bernardo Paz, 2016.</div><div class="news-figure-credit credit" style="border: 0px; display: inline; font-family: BWHaasGrotesk-55Roman-Web, Helvetica, Arial, sans-serif; font-size: 10px; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: 15px; margin: 3px 0px 10px; padding: 0px; text-transform: uppercase; vertical-align: baseline;">PHOTOGRAPHER: MARK MAHANEY</div></figcaption><div><div class="news-figure-credit credit" style="border: 0px; display: inline; font-family: BWHaasGrotesk-55Roman-Web, Helvetica, Arial, sans-serif; font-size: 10px; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: 15px; margin: 3px 0px 10px; padding: 0px; text-transform: uppercase; vertical-align: baseline;"><br /></div></div></figure></div></span></div><div dir="auto" style="caret-color: rgb(5, 5, 5); color: #050505; font-size: 15px; white-space: pre-wrap;"><span style="font-family: arial;"><br /></span></div><div dir="auto"><br /></div><div dir="auto"><br /></div><div dir="auto"><br /></div><div dir="auto"><br /></div><div dir="auto"><br /></div><div dir="auto" style="caret-color: rgb(5, 5, 5); color: #050505; font-size: 15px; white-space: pre-wrap;"><span style="font-family: arial;"><br /></span></div><div dir="auto" style="caret-color: rgb(5, 5, 5); color: #050505; font-size: 15px; white-space: pre-wrap;"><span style="font-family: arial;"><br /></span></div><div dir="auto" style="caret-color: rgb(5, 5, 5); color: #050505; font-size: 15px; white-space: pre-wrap;"><span style="font-family: arial;"><br /></span></div></div>Carol Diehlhttp://www.blogger.com/profile/09023589628710711343noreply@blogger.com0tag:blogger.com,1999:blog-4865764596112100655.post-24583049870182054502021-03-05T13:10:00.005-05:002021-03-06T09:19:59.010-05:00ARTSPEAK: Who needs it?<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiryCHKGDvZCy1veYTe7K9rk_21fKwbgEkO6Jbl1gZa7qhD-M64fvki3Y5XjDaPicB1FB22jAr5kTiSDBpMHSNXDfvJ4QM0018XDRZ_ZJMU9UqH8itA194dhI7u44Ibnn6v710IqcJjk8c/s1500/ovtA22hncAXH_1200x1500.jpg" style="clear: right; display: inline; float: right; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px; margin-bottom: 1em; margin-left: 1em; orphans: 2; text-align: center; white-space: pre-wrap; widows: 2;"><img border="0" data-original-height="1500" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiryCHKGDvZCy1veYTe7K9rk_21fKwbgEkO6Jbl1gZa7qhD-M64fvki3Y5XjDaPicB1FB22jAr5kTiSDBpMHSNXDfvJ4QM0018XDRZ_ZJMU9UqH8itA194dhI7u44Ibnn6v710IqcJjk8c/s320/ovtA22hncAXH_1200x1500.jpg" /></a></p><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px; font-variant-ligatures: normal; margin: 0.5em 0px 0px; orphans: 2; overflow-wrap: break-word; white-space: pre-wrap; widows: 2;"><br /><div dir="auto" style="font-family: inherit;"><span style="font-family: inherit;"><br /></span></div><div dir="auto" style="font-family: inherit;"><span style="font-family: inherit;">Recently, I posted to Facebook this artists’ statement in the <a href="https://gagosian.com">Gagosian Gallery’s</a> February 17th press release about sculptor/painter <a href="https://en.wikipedia.org/wiki/Adriana_Varejão">Adriana Varejão</a>:</span></div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px; font-variant-ligatures: normal; margin: 0.5em 0px 0px; orphans: 2; overflow-wrap: break-word; white-space: pre-wrap; widows: 2;"><div dir="auto" style="font-family: inherit;">"My work is always in the territory of hybridity. All of my content is built in terms of decolonizing subjectivities, because it deals with countless cultural references, not only from official history, but also from many other hidden or obscured histories that lie at the margins."</div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px; font-variant-ligatures: normal; margin: 0.5em 0px 0px; orphans: 2; overflow-wrap: break-word; white-space: pre-wrap; widows: 2;"><div dir="auto" style="font-family: inherit;">As anyone who has read my blog or Facebook posts is aware, I’ve long crusaded against artspeak to the point that a few years ago, in the Guggenheim Museum, railing obviously all too audibly to a friend about the wall text, a woman near me asked, “Are you Carol Diehl?” But this press release was over the top—and the more than 100 comments on my post let me know I was not alone in my reaction.</div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px; font-variant-ligatures: normal; margin: 0.5em 0px 0px; orphans: 2; overflow-wrap: break-word; white-space: pre-wrap; widows: 2;"><div dir="auto" style="font-family: inherit;">The gallery, however, must have realized that more explanation was needed, so they extrapolated:</div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px; font-variant-ligatures: normal; margin: 0.5em 0px 0px; orphans: 2; overflow-wrap: break-word; white-space: pre-wrap; widows: 2;"><div dir="auto" style="font-family: inherit;">"Varejão’s rich and diverse oeuvre embodies the mythic pluralism of Brazilian identity and the complex social, cultural, and aesthetic interactions that created it. Based in Rio de Janeiro, Varejão draws upon a potent visual legacy informed by the stories of colonialism and transnational exchange to create a confluence of forms that exposes the multivalent nature of representation, history, and memory."</div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px; font-variant-ligatures: normal; margin: 0.5em 0px 0px; orphans: 2; overflow-wrap: break-word; white-space: pre-wrap; widows: 2;"><div dir="auto" style="font-family: inherit;">The release includes a portrait of the very photogenic Varejão, her eyes gazing up soulfully into the camera as she reclines in her studio on a leather couch adorned with accidental/intentional paint handprints, surrounded by the detritus of art-making, randomly positioned to indicate the busy workplace of a serious artist whose work is worth a lot of money—and indeed, as her Wikipedia page informs us, she holds the auction record for a Brazilian artist with a $1.8 million sale in 2011. The release included no image of her painting because it is from a new and yet unseen series that will be revealed…dum-de-dum-dum… a week hence on the Gagosian website and available for sale for 48 hours only—accompanied by a short film featuring a time-lapse sequence documenting the making of the support for a tile painting, “the first time the artist has ever revealed her working process to the public eye.” </div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px; font-variant-ligatures: normal; margin: 0.5em 0px 0px; orphans: 2; overflow-wrap: break-word; white-space: pre-wrap; widows: 2;"><div dir="auto" style="font-family: inherit;">The suspense is killing me. </div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px; font-variant-ligatures: normal; margin: 0.5em 0px 0px; orphans: 2; overflow-wrap: break-word; white-space: pre-wrap; widows: 2;"><div dir="auto" style="font-family: inherit;">Meanwhile, research reveals a backstory. Varejão used to be married to one Bernardo Paz, a Brazilian art collector (ARTnews “Top 200”), mining magnate, and creator of the Instituto Imhotim, a nature preserve that contains one of the largest outdoor art centers in Latin America, featuring art by internationally celebrated artists and a pavilion dedicated to Varejão’s work. In 2017, <a href="https://news.artnet.com/art-world/top-brazilian-collector-bernardo-paz-sentenced-jail-tax-evasion-1154561">Paz was sentenced to jail</a> for nine years and three months for money laundering related to the institute. Later, <a href="https://www.frieze.com/article/eccentric-founder-brazils-inhotim-art-park-bernardo-paz-accused-profiting-child-labour">Frieze reports</a>, other allegations about Paz’s business practices came forth, including claims of violating environmental law and use of child labor in his charcoal production business, causing him to ultimately resign from the Imhotim’s board and cede ownership of important works. In February, 2020, <a href="https://www.artnews.com/art-news/news/collector-bernardo-paz-criminal-charges-cleared-1202679199/">ARTnews reported</a> that Paz was acquitted of the money-laundering charges and although the government can still appeal, Paz’s lawyer said it was unlikely they would, given that “the laundering occurred through a criminal organization wasn’t part of Brazilian law until 2013, and the alleged wrongdoing happened some six years prior.”</div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px; font-variant-ligatures: normal; margin: 0.5em 0px 0px; orphans: 2; overflow-wrap: break-word; white-space: pre-wrap; widows: 2;"><div dir="auto" style="font-family: inherit;">But I digress. What were we talking about? Oh yes, confounding statements, which are particularly mystifying when coming from Gagosian, who can afford the best writers in the world. However artist David Levine, who has studied the artspeak phenomenon, suggests in the <a href="https://www.theguardian.com/artanddesign/2013/jan/27/users-guide-international-art-english">Guardian</a> that it could have a commercial application: “The more you can muddy the waters around the meaning of a work, the more you can keep the value high."</div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px; font-variant-ligatures: normal; margin: 0.5em 0px 0px; orphans: 2; overflow-wrap: break-word; white-space: pre-wrap; widows: 2;"><div dir="auto" style="font-family: inherit;">Ah, so chances are Gagosian’s use of artspeak is intentional, just another means of protecting a work’s monetary value—and perhaps increasing it by sounding politically current and “woke” (anything that includes the words “colonialism” or “pluralism”) while vending an artist who is clearly not of the underclass, and promoting transactions in an unregulated market that functions to exacerbate income disparity.</div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px; font-variant-ligatures: normal; margin: 0.5em 0px 0px; orphans: 2; overflow-wrap: break-word; white-space: pre-wrap; widows: 2;"><div dir="auto" style="font-family: inherit;">Artspeak has been around a long time, but it now seems particularly egregious, yet another fiction thrown at us as truth in an era where we are drowning in a tsunami of hype and propaganda. If anything qualifies as “fake news,” this press release is it. I recall Adam Curtis’s prescient 2016 film, “<a href="https://www.youtube.com/watch?v=IqriEsbq6oE">HyperNormalisation</a>,” the title a term coined by a Russian professor of anthropology, Alexei Yurchak, who emigrated to the United States. In his 2006 book, "<a href="https://press.princeton.edu/books/paperback/9780691121178/everything-was-forever-until-it-was-no-more">Everything Was Forever, Until It Was No More</a>," Yurchak wrote about the paradoxes of Soviet life in the 1970s and 1980s when, although it was clear that the system was failing, no one could conceive of an alternative, and therefore went along with the status quo. Eventually the fakeness became accepted as real—hence hypernormalisation. </div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px; font-variant-ligatures: normal; margin: 0.5em 0px 0px; orphans: 2; overflow-wrap: break-word; white-space: pre-wrap; widows: 2;"><div dir="auto" style="font-family: inherit;">Today’s hazy mental climate of illusion and delusion requires that we keep critically observant while constantly asking ourselves, what is reality? – even as it seems to slip further from our grasp. However, should it be of some comfort, one thing is absolutely certain: if and when reality does decide to present itself, it will not come shrouded in a cloak of decolonized subjectivity and hybridity. </div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px; font-variant-ligatures: normal; margin: 0.5em 0px 0px; orphans: 2; overflow-wrap: break-word; white-space: pre-wrap; widows: 2;"><div dir="auto" style="font-family: inherit;"><br /></div><div dir="auto" style="font-family: inherit;">***</div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px; font-variant-ligatures: normal; margin: 0.5em 0px 0px; orphans: 2; overflow-wrap: break-word; white-space: pre-wrap; widows: 2;"><div dir="auto" style="font-family: inherit;"><br /></div><div dir="auto" style="font-family: inherit;">Note: Adam Curtis's film, Hypernormalisation can be watched on YouTube <a href="https://www.youtube.com/watch?v=AUiqaFIONPQ">here</a>.</div><div dir="auto" style="font-family: inherit;"><br /></div><div dir="auto" style="font-family: inherit;"><br /></div><div dir="auto" style="font-family: inherit;">Photo: Adriana Varejão in her studio, courtesy of Gagoisan Gallery.</div><div dir="auto" style="font-family: inherit;"><br /></div><div dir="auto" style="font-family: inherit;">Carol Diehl (c) 2021</div><div dir="auto" style="font-family: inherit;"><br /></div><div dir="auto" style="font-family: inherit;"><br /></div><div dir="auto" style="font-family: inherit;"><br /></div><div dir="auto" style="font-family: inherit;"><br /></div><div class="separator" style="clear: both; text-align: center;"></div><br /><div dir="auto" style="font-family: inherit;"><br /></div><div dir="auto" style="font-family: inherit;"><br /></div><div dir="auto" style="font-family: inherit;"><br /></div></div>Carol Diehlhttp://www.blogger.com/profile/09023589628710711343noreply@blogger.com0tag:blogger.com,1999:blog-4865764596112100655.post-62556258171193879502019-06-18T05:08:00.001-04:002019-06-18T05:15:01.125-04:00Banksy and the Art Market: The Downside of Anonymity<!--[if gte mso 9]><xml>
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<br />
Being anonymous has its perks (not getting arrested for vandalism, for
instance) but also its complications. For Banksy, it means that there are
exhibitions in his name all over the world, raking in no doubt millions of
dollars, in which he has no part—hustlers exhibiting work borrowed from
collectors, charging up to $49 for admission, while putting up banners with his
name on it along the city streets. Banksy has no control over what’s exhibited
or how it’s exhibited—nor can he claim any of the income or confirm that the
work is indeed genuine. Recently I met a Banksy fan in his 80s, who was going
on rapturously about a Banksy exhibition he saw in Amsterdam; I didn’t have the
heart to tell him Banksy had nothing to do with it. And in Israel I met a Palestinian
artist who was annoyed that Banksy would put on an exhibition in Tel Aviv just
as he was opening his hotel in Palestinian Bethlehem, to whom I had to explain
that the two weren’t related.<br />
<br />
Nor do journalists get it, as in the <a href="https://www.euronews.com/2019/06/16/banksy-genius-or-vandal-exhibition-in-lisbon">Euronews</a>
coverage of a current 4 ½ month exhibition in Lisbon that read:<span style="color: black;"> “The anonymous artist includes his distinctive stencilling
technique, sculptors [sic], videos and photographs. This exhibition has already
been to Moscow and Madrid attracting more than 600,000 people.”<o:p></o:p></span><br />
<span style="color: black;"><br /></span>
<span style="color: black;">But no doubt the worst is having one’s work “interpreted”
by a “curator” as in, “He is a messenger, he is not somebody who can solve
anything, he is not somebody who has the power to solve a problem, he is just
showing us the problem, he is a messenger that gives us the message of guys. We
have to stop somehow and think about it and then do something about it." <span style="mso-spacerun: yes;"> </span>Oh geez.<o:p></o:p></span><br />
<span style="color: black;"><br /></span>
<span style="color: black;">Even <a href="https://www.forbes.com/sites/daniellerahm/2013/10/22/banksy-the-20-million-graffiti-artist-who-doesnt-want-his-art-to-be-worth-anything/#e9a1e7c61ba8">Forbes</a>
(which repeats the myth of Banksy’s supposed $20M net worth as if it were fact)
seems to find a contradiction in Banksy’s deprecation of the auction market—as when,
after three of his works sold in the six figures, Banksy posted a cartoon of an
auctioneer selling a framed canvas painted with the words” I Can’t Believe You
Morons Actually Buy This Shit,” which was in line with his <a href="https://news.artnet.com/market/banksy-video-shredding-stunt-1374424">recent
painting-shredding caper</a> at Sotheby’s. Few outside the art world (I guess,
including Forbes) understand that artists themselves don’t gain when work is
sold at auction—but everything is sold on consignment by previous owners, who
get all the profit. And while some insist Banksy gains because it inflates the value
of the artworks he does sell…well, that might be true if he actually sold stuff.
However, since 2008 Banksy has had no commercial gallery representation and has
not made anything for the market except some prints for charity. Currently the
only way you can buy a Banksy, is to be a guest of his Bethlehem hotel where
the tiny bookstore sells unlimited edition prints and small sculptures in the
$150-$300 range. Bring your suitcase! And then pray they get through the
checkpoint at the wall going back into Israel…but that’s another story.<o:p></o:p></span><br />
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<span style="color: black;"><br /></span></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<span style="color: black;">Banksy, in his <a href="http://banksy.co.uk/faq.asp">website</a> , is clear, listing exhibitions
in 19 countries as “Fake” adding : </span><span style="color: black; mso-themecolor: text1;">“</span><span style="color: black; mso-bidi-font-size: 7.5pt; mso-themecolor: text1;">Banksy is NOT on Facebook, Twitter or represented by Steve Lazarides [his
former dealer and one of the “fake” exhibition organizers] or any other
commercial gallery.”<o:p></o:p></span></div>
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<div style="text-align: center;">
<span style="color: black; mso-bidi-font-size: 7.5pt; mso-themecolor: text1;">***</span></div>
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<div style="background: white; margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<span style="color: black; mso-bidi-font-size: 7.5pt; mso-themecolor: text1;">Pledge to the Kickstarter campaign for my book-in-progress, <i>Banksy: Completed</i>, to be published by The MIT Press in late 2020. Find it <a href="https://www.kickstarter.com/projects/banksycompleted/banksy-completed">here</a>.</span></div>
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<!--EndFragment--><br />Carol Diehlhttp://www.blogger.com/profile/09023589628710711343noreply@blogger.com0tag:blogger.com,1999:blog-4865764596112100655.post-27685984948055326642019-06-16T17:59:00.002-04:002019-06-16T19:03:24.384-04:00BANKSY: COMPLETED<div class="" data-block="true" data-editor="58r5s" data-offset-key="et1hs-0-0" style="color: #1c1e21; white-space: pre-wrap;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7lXxusP_tmrbGdbaYSoJGw3yjaxPReEFAbsMEpjr5MOPLeT-o1EYgSDJ0XvVlTuNwy3wKPaTOHrONXpJVNCwKrpCYHWWUXHWnKBr1oD1sQdwsVVCOIOm0f8Ac-B-zFRHeMuuiEUV1LH4/s1600/Banksy_cover_wall%2526spray1-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="587" data-original-width="970" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7lXxusP_tmrbGdbaYSoJGw3yjaxPReEFAbsMEpjr5MOPLeT-o1EYgSDJ0XvVlTuNwy3wKPaTOHrONXpJVNCwKrpCYHWWUXHWnKBr1oD1sQdwsVVCOIOm0f8Ac-B-zFRHeMuuiEUV1LH4/s400/Banksy_cover_wall%2526spray1-1.jpg" width="400" /></a></div>
<div style="text-align: left;">
<span data-offset-key="et1hs-0-0" style="font-family: inherit;">I got the idea to write my book-in-progress, "Banksy: Completed," through conversations on Facebook (thanks, <a href="https://www.google.com/search?q=jerry+saltz+wiki&rlz=1C5CHFA_enUS503US503&oq=jerry+saltz+wiki&aqs=chrome..69i57j33.6096j1j7&sourceid=chrome&ie=UTF-8">Jerry Saltz</a></span><span data-offset-key="et1hs-2-0" style="font-family: inherit;">!), where I felt the anonymous street artist's work deserved to be taken more seriously by the art world. </span><span style="font-family: inherit;">Therefore, "Banksy: Completed" will be the first in-depth investigation into the significance of his work--published, I'm thrilled to say, by The MIT Press. </span><span data-offset-key="7vq2f-0-0" style="font-family: inherit;">But since there are no big advances in the academic publishing world--in fact, my contract actually obligates me to expenses--I must fundraise to make it happen.</span><span style="font-family: inherit;">PLEASE JOIN ME! No donation too small (even $1--small pledges increase the number of backers) or too large! </span><span style="font-family: inherit;">Become part of the project as it unfolds and among the first to see BANKSY: COMPLETED when it's published. </span><span style="font-family: inherit;">And please share far and wide!</span></div>
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<span data-offset-key="evd0r-0-0" style="font-family: inherit;">Here's the Kickstarter link: </span><a href="https://www.kickstarter.com/projects/banksycompleted/banksy-completed" style="font-family: inherit; white-space: normal;">https://www.kickstarter.com/projects/banksycompleted/banksy-completed</a><br />
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Carol Diehlhttp://www.blogger.com/profile/09023589628710711343noreply@blogger.com0tag:blogger.com,1999:blog-4865764596112100655.post-85142445065772254932018-02-13T20:32:00.003-05:002018-02-13T20:33:15.758-05:00Another Kehinde Wiley portrait of Obama<!--[if gte mso 9]><xml>
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The recent official portrait is not the first of Obama by <a href="https://en.wikipedia.org/wiki/Kehinde_Wiley">Kehinde Wiley</a>. I’ve always been a fan of the artist, so working at TIME as a consultant
on the covers, when it was clear that Obama would be the 2008 Person of the
Year, Wiley was at the top of my list. He was ultimately edged out by <a href="https://obeygiant.com/">Shepard Fairey</a>, whose iconic Obama poster made him the logical first choice. In those
golden days of TIME, we often commissioned several artists for a single cover—in
case, for one reason or another, something didn’t work out. The original
artworks of those that did run were ultimately donated to the National Portrait
Gallery of the Smithsonian, where Wiley’s most recent portrait will also end
up. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcUB94tesz6PlS-IV-MBp_2LZ7RmFkxkfIRC-R2QvUK_L9XghdUJiX9Bc5yU7sbWusFLVf7RQt_tsrGQbKdqEP0sSlUjbfNYCQkrZFRoJ2t2-xssjeafYUs7EfUdXSoDGq3mM5kRXO3Zs/s1600/kehinde_time.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1575" data-original-width="1181" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcUB94tesz6PlS-IV-MBp_2LZ7RmFkxkfIRC-R2QvUK_L9XghdUJiX9Bc5yU7sbWusFLVf7RQt_tsrGQbKdqEP0sSlUjbfNYCQkrZFRoJ2t2-xssjeafYUs7EfUdXSoDGq3mM5kRXO3Zs/s400/kehinde_time.jpg" width="297" /></a></div>
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Carol Diehlhttp://www.blogger.com/profile/09023589628710711343noreply@blogger.com0tag:blogger.com,1999:blog-4865764596112100655.post-61280571881919680452018-01-22T22:53:00.000-05:002018-01-22T22:53:06.076-05:00Adventures with the Berkshire Museum<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzh6rEh0wee2bQnpf5R1M9zWhm1D4H0bhnOZAsTC1zSIvRaPGvDF4T_O9Z1CvJgZIcifFpWr57B07FOCsXPl6ZfVxrWsnnluie72SotNqAPTznlMsLnn8c-6cqEt3Y6FtxF0N1B_IJlkE/s1600/1502550780.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzh6rEh0wee2bQnpf5R1M9zWhm1D4H0bhnOZAsTC1zSIvRaPGvDF4T_O9Z1CvJgZIcifFpWr57B07FOCsXPl6ZfVxrWsnnluie72SotNqAPTznlMsLnn8c-6cqEt3Y6FtxF0N1B_IJlkE/s640/1502550780.jpg" width="640" /></a></div>
<span style="font-size: x-small;">Photo: iBerkshires.com</span><br />
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Who would have thought that our little Berkshire Museum in Pittsfield, MA, near where I live in southwestern Massachusetts, could cause an international ruckus. It has, however, in its attempt to divest its collection of 40 of its most valued and beloved artworks to fund the gutting of its elegant Gilded Age building and the installation of a children's science museum. You can read more about it in <a href="https://www.newyorker.com/culture/culture-desk/the-lost-masterpieces-of-norman-rockwell-country">Felix Salmon's <i>New Yorker</i> piece</a>, and <a href="http://www.sfgate.com/news/article/Museum-s-plan-to-sell-off-art-crosses-ethical-12436295.php">Charles Desmarais' recent article</a> in the <i>San Francisco Chronicle. </i>As followers of my Facebook page know, I've been working with the citizen's group, <i>Save the Art--Save the Museum, </i>in the hopes that we can bring the art back and restore the Museum's original focus on the art and natural history of the region. Below is my op-ed for the February issue of <i>Berkshire Trade & Commerce:</i><br />
<i><br /></i>
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<span style="font-family: "Cambria",serif;"><b>Saving the Berkshire Museum</b></span></div>
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<span style="font-family: "Cambria",serif;"><br /></span></div>
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<span style="font-family: "Cambria",serif;">By now even people
in San Francisco, where it was on the front page of the <i style="mso-bidi-font-style: normal;">Chronicle</i> a few weeks ago, know about our Berkshire Museum’s plans
to sell the best of their art collection and raise $60-80M to fund a new
mission. The <i style="mso-bidi-font-style: normal;"><a href="http://www.nationalreview.com/article/454292/berkshire-museum-vs-norman-rockwell-family-lawsuit-seeks-stop-sale-painters-work">National Review</a></i> called
it “the biggest art-world story of 2017,” and indeed, it has been written about
in over 4,000 outlets worldwide.<o:p></o:p></span></div>
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<span style="color: #4b4f56; font-family: "Cambria",serif; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: "\.SFNSText-Regular";">The controversy has
attracted attention and sparked widespread opposition because it’s about much
more than the specific artworks the Museum's board and staff intend to
permanently send away from Pittsfield. Once transferred into private hands, it
is most likely that these important works, at least in our lifetimes, will never
be seen in public again. The action sets a dangerous precedent for all museums,
libraries, and historical societies, and is a blow to the very idea of public
access to original artworks, historical artifacts, and manuscripts.<o:p></o:p></span></div>
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<span style="color: #4b4f56; font-family: "Cambria",serif; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: "\.SFNSText-Regular";">Such deaccessions
are related to the damaging long-term national trend toward the privatization
of many kinds of assets previously held in the public trust. Escalated under
the Trump administration, this includes the selling off of national parklands for
private mining and drilling, such as is occurring in the Berkshires’ own Otis
State Forest and the plan for PCB dumps in the Housatonic River, as well as the
concern over “net neutrality” and control of the Internet which is, in essence,
a vital public utility. Responsibility for fixing the infrastructure and the
running of prisons, hospitals, and schools, is being transferred to private
operators motivated by profit rather than public service.<o:p></o:p></span></div>
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<span style="color: #4b4f56; font-family: "Cambria",serif; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: "\.SFNSText-Regular";">In contrast,
institutions such as the Berkshire Museum were specifically created to provide
resources and services for the benefit of the community, with the boards
considered the stewards and protectors of the assets. Called “trustees” for a
reason, they have heretofore been guided by ethical constraints that only
allowed sales from collections for the purpose of improving the collections, not
to fund operational expenses. Similarly, </span><span style="font-family: "Cambria",serif; mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;">those who donated
items did so with</span><span style="font-family: "Cambria",serif; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.5pt; mso-fareast-font-family: Arial;"> the
intention that they would be cared for and available to the public. The ethical
guidelines also have another function, which is to ensure that boards will not
leap to sell from collections instead of doing the harder work of fund-raising,
or use such profit for individual gain, as in the awarding of construction and
other operational contracts to special interests, or the raising of
administrative salaries.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "Cambria",serif; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.5pt; mso-fareast-font-family: Arial;">Because tax-exempt organizations are beholden to the public whose taxes
contribute to their support, their first priority should be the nurturing of
community trust. Toward this end, it is essential that their operations and
financial records be fully public and transparent, with any significant changes
in mission made in the context of community engagement. In the case of the
Berkshire Museum, however, </span><span style="color: #1d2129; font-family: "Cambria",serif; mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;">many
felt betrayed by the Museum leadership’s decision to sell the art, as well as the
way they went about it. The Museum’s much touted (and no doubt expensive)
“two-year planning process” lacked transparency, rendering its results invalid,
as at no time were participants informed that the “New Vision” would be
achieved through the sale of important and much-beloved artworks. Instead it
was a <i style="mso-bidi-font-style: normal;">fait accompli,</i> announced after
the deal with Sotheby’s had been signed and the art already removed from
Pittsfield. Further engendering suspicion, the Museum held back the full list
of the 40 works until public uproar forced their revelation. <o:p></o:p></span></div>
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<span style="color: #1d2129; font-family: "Cambria",serif; mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;">In addition, although the
Museum </span><span style="font-family: "Cambria",serif; mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;">has asserted that if it does not sell the
artworks it will be forced to close in eight years, officials there have
offered no detailed proof to verify this claim. Meanwhile, ongoing analysis by several
independent experts has questioned this premise, as well as the need for a $40M
endowment, considered wildly inflated for an institution of its size. Note that
the Norman Rockwell Museum gets by with an endowment of $4.5M, while the Hudson
River Museum in Yonkers, NY, with a similar size, mission and demographic as
the Berkshire Museum, has an even smaller endowment. The Albany Institute of
History and Art, in an equally economically challenged area, mounts exhibitions
reviewed in the <i style="mso-bidi-font-style: normal;">New York Times</i> on an
annual budget of $500,000 less than the Berkshire Museum, and employs two
curators, where the Berkshire Museum has none.<i style="mso-bidi-font-style: normal;"> </i><o:p></o:p></span></div>
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<span style="font-family: "Cambria",serif; mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;">So, yes, the Museum’s actions have created a
crisis, but within that crisis lies new opportunity. A recent letter to the <i style="mso-bidi-font-style: normal;">Berkshire </i>Eagle quoted P.T. Barnum
saying </span><span style="background: white; color: black; font-family: "Cambria",serif; mso-bidi-font-size: 11.5pt; mso-fareast-font-family: "Times New Roman";">"Do
not squander good or bad publicity but exploit it!" The writer suggests
that, inspired by Barnum, a “Forty Works Exhibition” could be one of the
biggest art events on the East Coast for 2018. In addition, fund-raising
opportunities have increased a hundredfold, in just the kind of circumstances
that enabled the Detroit Institute of the Arts to reestablish itself after the
City of Detroit threatened to sell off its holdings to fund the sagging city
economy. <o:p></o:p></span></div>
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<span style="font-family: "Cambria",serif; mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;">Although we’ve been
divided, what we have in common is that we love the Museum. The citizens’ group
of which I’m a part, Save the Art—Save the Museum, has repeatedly invited the
trustees to use the passion ignited in the community, harness the energy of <i style="mso-bidi-font-style: normal;">all</i> who want the Museum to survive, and come
up with a revised plan that saves the cultural treasures of the Berkshires
while creating financial stability.<o:p></o:p></span></div>
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outpouring of local and national care, the Museum's leadership must
courageously acknowledge the public outcry against their plans and agree to
work constructively with the voices that have emerged, particularly those art
and museum professionals who have offered help. <o:p></o:p></span></div>
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<span style="font-family: "Cambria",serif; mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;">In our interconnected world, only collaboration will bring about goodwill
and the long-term enthusiastic support the Museum will need for whatever
mission it adopts. Yes, the Berkshire Museum can be saved, but only by bringing
back the art and engaging in genuine community dialogue. <o:p></o:p></span></div>
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Carol Diehlhttp://www.blogger.com/profile/09023589628710711343noreply@blogger.com0tag:blogger.com,1999:blog-4865764596112100655.post-68558971043526944772017-03-28T17:06:00.000-04:002017-03-28T21:03:04.045-04:00<div class="MsoNormal">
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<b style="color: #16191f;"><span style="font-size: small;">Dana Schutz's painting in the Whitney Museum Biennial, is based on a 1955 photo of 14-year-old Emmett Till's mutilated body, published in <i>Jet </i>Magazine and credited with inspiring support for the civil rights movement. Till, an African-American from Chicago, was killed in Mississippi by two white men who were acquitted, although later admitted to the crime. In 2008, at age 82, the woman who had accused him of making advances recanted her story.</span></b></h3>
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<div class="MsoNormal">
<span style="font-size: large;"><span style="color: #16191f; mso-bidi-font-family: "System Font";">What
the current art world controversy around </span><a href="https://en.wikipedia.org/wiki/Dana_Schutz"><span style="mso-bidi-font-family: "System Font";">Dana Schutz</span></a><span style="color: #16191f; mso-bidi-font-family: "System Font";">’s painting of </span><a href="https://en.wikipedia.org/wiki/Emmett_Till"><span style="mso-bidi-font-family: "System Font";">Emmett Till</span></a><span style="color: #16191f; mso-bidi-font-family: "System Font";"> tells me, is that a preponderance of white artists, who think
of themselves as liberal, have no awareness of their (overused term alert!) privilege
and unconscious racism. Exclaiming in droves on Facebook and elsewhere that
they know better how black people should respond, their righteous arrogance is
mind-boggling—perhaps not a surprise to blacks, but to me, because these are
people I know. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span style="color: #16191f; mso-bidi-font-family: "System Font";"><span style="mso-spacerun: yes;"><br /></span></span></div>
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<span style="font-size: large;"><span style="color: #16191f; mso-bidi-font-family: "System Font";">This
also happened a couple of years ago when issues about </span><a href="https://en.wikipedia.org/wiki/Kara_Walker"><span style="mso-bidi-font-family: "System Font";">Kara Walker</span></a><span style="color: #16191f; mso-bidi-font-family: "System Font";"> came up on my blog, with comments on Facebook. Walker, a black
artist whose work is collected primarily by whites, often features blacks being
abused by whites, as well as Jim Crow imagery, which many blacks find
degrading. But when black artists and academics expressed this on my FB page,
white artists had no qualms about telling them they were “ignorant” and
“anti-art.” One even said that </span><a href="https://en.wikipedia.org/wiki/Michele_Wallace"><span style="mso-bidi-font-family: "System Font";">Michele Wallace</span></a><span style="color: #16191f; mso-bidi-font-family: "System Font";">, who had written a negative essay about Walker,
“didn’t understand art”— obviously unaware that Wallace is the daughter of
venerable black artist <a href="https://en.wikipedia.org/wiki/Faith_Ringgold">Faith Ringgold</a>. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #16191f; font-size: large; mso-bidi-font-family: "System Font";">Now
the black activists protesting the Schutz painting are being called “poseurs”
and “panic merchants,” “a niche group” whose responses are “ridiculous” “nit-wit
shit,” and “about some people assuming they have the exclusive right to certain
aspects of American history.” <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;"><span style="color: #16191f; mso-bidi-font-family: "System Font";">The
most frequent cry from whites is that of “censorship”— a term I associate with attempts
of authoritarian governments to control the masses, rather than the struggle of
the downtrodden to keep their experience from being co-opted and
mischaracterized by their oppressors. <span style="mso-spacerun: yes;"> </span>One art editor on FB called it a “whiff of the
Cultural Revolution,” while a </span><a href="http://www.wsws.org/en/articles/2017/03/24/till-m24.html"><span style="mso-bidi-font-family: "System Font";">socialist columnist</span></a><span style="color: #16191f; mso-bidi-font-family: "System Font";">, addressing the “foul
attempt to censor and suppress” the painting, wrote, “</span><span style="background: white; color: #333333;">The arguments being used are worthy of the Nazi
officials who banned Jewish artists from playing or conducting classical music
on the grounds of their ‘un-German’ spirit” – to which a commenter replied, “</span><span style="color: #2a2e2e; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Bringing up Nazis in this issue is like a Nazi painting a
picture of the camps and blaming the Jews for being too sensitive.”<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #16191f; font-size: large; mso-bidi-font-family: "System Font";">I think of a friend who once worked in a dentist’s office that
was decorated with pastoral prints. One showed a group of good ol' boys sitting
under a tree, and hanging from one of the branches, barely perceptible, was a
noose. The white patients who crowded the office never noticed it, nor did the white
dentist who chose it, but it gave my black friend chills. At her request, the
dentist took it down. Censorship? Political correctness? No, simply consideration
for his employee. And a reminder that not only may we not see things as others
do, we might not see them at all.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #16191f; font-size: large; mso-bidi-font-family: "System Font";">I once asked a white collector why he bought a Kara Walker work
on paper. “I liked the way it was drawn,” he said. And the imagery? “Oh, I
didn’t care about that.” <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #16191f; font-size: large; mso-bidi-font-family: "System Font";">Another white artist friend calls the controversy “trivial”
because, he says, it has nothing to do with the day-to-day struggle of poor blacks.
In fact, a number of white artists were maintaining that art is unimportant in
the scheme of life, or in the face of our current political miasma—a curious
stance for those who have devoted their lives to it. But when the protestors
call for the destruction of the painting, they turn around and argue for its
intrinsic value as if it were a sacred object.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #16191f; font-size: large; mso-bidi-font-family: "System Font";">While it’s true that many economically disadvantaged blacks, survival
on their minds, may never know about this issue and, if they did, might not
care what happens at the Whitney, the arts are important in shaping the culture
and the perceptions of those who make decisions about our lives. Do we hold our
judgment and listen? Or continue to send the message that the white
establishment couldn't care less? <o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-size: large;"><span style="color: #16191f; mso-bidi-font-family: "System Font";">Beyond the question of the subject matter, a big problem
with <i style="mso-bidi-font-style: normal;">Open Casket</i>, as </span><a href="http://www.cnn.com/2017/03/24/opinions/white-artist-controversial-emmett-till-painting-dsouza/index.html"><span style="mso-bidi-font-family: "System Font";">Aruna D’Souza</span></a><span style="color: #16191f; mso-bidi-font-family: "System Font";"> and </span><a href="https://vasari21.com/the-biennial-brouhaha/"><span style="mso-bidi-font-family: "System Font";">Ann Landi</span></a><span style="color: #16191f; mso-bidi-font-family: "System Font";"> have also pointed out, is that it’s not a great painting, and
one wonders if the result would have been different if it were. Instead <i style="mso-bidi-font-style: normal;">Open Casket</i> is a Dana Schutz before
anything else, with the result that it trivializes and makes a decorative
cartoon of a horrific event. As one commenter said, “I'm not sure that 'rubber
stamping' a style on a loaded subject is a good strategy for a successful
painting</span><span style="color: #16191f; mso-bidi-font-family: "Times New Roman";">”.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #16191f; font-size: large; mso-bidi-font-family: "Times New Roman";">Adding insult to injury is Schutz’s statement that she was
empathizing as a mother, if not a black mother, which indicates she must have
missed the conversation around the distinction between “Black Lives Matter” and
“All Lives Matter,” at the top of the news the last several years.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-size: large;"><br /></span></div>
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<span style="color: #16191f; font-size: large; mso-bidi-font-family: "Times New Roman";">If I were King of the Whitney, I’d leave the painting up and
make the dialogue around it part of the exhibition, posting the dissenting
remarks and holding symposia with an eye to giving black voices a
platform—because, in the end, the conversation is much more consequential than
the painting. <o:p></o:p></span></div>
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<span style="font-size: large;"><br /></span></div>
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Carol Diehlhttp://www.blogger.com/profile/09023589628710711343noreply@blogger.com2tag:blogger.com,1999:blog-4865764596112100655.post-10304566950774759782017-03-10T22:23:00.002-05:002018-12-16T13:33:29.599-05:00Hello, back again, for Banksy....<div class="p1">
<span class="s1"><span style="font-size: small;">At 6:30 last Friday morning I was waiting for the BBC to contact me with details about Banksy’s latest project – a hotel in Bethlehem, named the “Walled-Off,” facing the West Bank barrier wall, with "the worst view in the world." The day before I’d received an email with the heading “BBC NEWS-URGENT” (which, like most messages that say URGENT nearly went into the spam folder) and had agreed to comment on it live at 9:30 in their studio at 200 Liberty Street. When I got there (found a taxi, whew!), finally passed Pentagon-like security and arrived on the 18th floor, I was greeted by a beautiful woman named Kizzy. She took my coat, gave me a plastic cup of water, and immediately ushered me into the sound room—a padded cell with a wall-size green screen and projected view of Manhattan. In front of the screen was a desk and chair, with an eerie camera lens embedded in the opposite black wall. To the right was a big monitor with me, only me, on it (if you think looking into a magnified mirror is scary, try HD!). Kizzy wired me up and left, closing the door. I fluffed my hair in the monitor. In my ear I could hear an announcer, parts of the news program, and a lot of interference. A British male voice came on, asked me to say something to test the volume, and told me we’d be live in seven minutes. I still had only the barest information about Banksy’s project and no idea what I’d be asked.</span></span></div>
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<span class="s2"><span style="font-size: small;">I did fine. Interspersed with my comments were those of a male British critic with a sonorous voice, clearly an experienced presenter (I never caught his name), who did even better. Kizzy came in, unwired me, gave me my coat and I went out into the sunshine, off to tea in Tribeca with my friend, Elenor.</span></span></div>
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<a href="https://gdb.voanews.com/29255DDE-405E-4F1C-92F3-FAB88608F45F_w1023_r1_s.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="223" src="https://gdb.voanews.com/29255DDE-405E-4F1C-92F3-FAB88608F45F_w1023_r1_s.jpg" width="400" /></a></div>
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<span style="font-size: small;">More images here:</span></div>
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<span class="s2"><span style="font-size: small;"><a href="https://www.buzzfeed.com/gabrielsanchez/21-politically-subversive-views-from-inside-bankys-new-hotel?utm_term=.odK7aOjGk#.widpZdvxg">https://www.buzzfeed.com/gabrielsanchez/21-politically-subversive-views-from-inside-bankys-new-hotel?utm_term=.odK7aOjGk#.widpZdvxg</a></span></span></div>
Carol Diehlhttp://www.blogger.com/profile/09023589628710711343noreply@blogger.com0tag:blogger.com,1999:blog-4865764596112100655.post-48022178253233011662016-06-28T16:37:00.000-04:002016-06-28T16:38:34.049-04:00Bill Cunningham and meIn 1993, on one of the most horrid hot humid days ever in New York, I was on Fifth Avenue with my Chinese paper parasol when a man with a camera ran up and snapped it in my face. I said, nastily, “You can’t do that” and he said, just as nastily, “I wasn’t taking a picture of you, I was taking a picture of Tiffany’s window behind you.” I walked about two more blocks before realizing that he was <a href="http://www.nytimes.com/2016/06/26/style/bill-cunningham-legendary-times-fashion-photographer-dies-at-87.html?_r=0">Bil</a><span class="text_exposed_show" style="display: inline !important;"><a href="http://www.nytimes.com/2016/06/26/style/bill-cunningham-legendary-times-fashion-photographer-dies-at-87.html?_r=0">l Cunningham</a> from the Times and when I got home, wrote him a short apology, saying that I mistook him for a rude tourist from Iowa. I forgot about it completely until several Sundays later when I was meeting a friend who had with her a copy of the Times—and there I was, in a layout about parasols, snarling under mine. That week I received a print of the picture in the mail and a note from Cunningham who wrote, “The image of you and your parasol turned me into an aggressive New Yorker…apologies. The tourists are the polite ones…it’s me who is not too polite. Best regards, Bill C.” – more gracious than I deserved.</span><br />
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Carol Diehlhttp://www.blogger.com/profile/09023589628710711343noreply@blogger.com1tag:blogger.com,1999:blog-4865764596112100655.post-84089563668408919492015-10-03T11:55:00.001-04:002017-09-14T21:07:39.671-04:00Bristol Graffiti Tour<div class="MsoNormal">
One of the things I appreciate about nature is that there’s
no advertising. Even more, except for trail markings, some artfully piled rocks,
the rare piece of litter and the flag at the top of the mountain, when I hike
in the woods I don’t have to come in contact with anyone else’s sensibilities. </div>
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Then there’s New York, which is nothing but other people’s
sensibilities, all vying for my attention. The idea that advertisers get to
shape the human environment is one of the worst outcomes of unfettered
capitalism. Do I really want to think about psoriasis when I’m on the subway?
Or look at that guy in his Calvins high about Houston Street? We can’t avoid
it, advertising is everywhere, on every possible bit of real estate including
the risers on station steps, and we accept it with no complaints—but when
someone presumes to write his/her name on a wall with a marker, everyone goes apeshit.
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Art or not, at least it’s the sign of a real person, someone
who’s not trying to sell me anything, just letting me know s/he was there.</div>
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So what would the world look like if the graffiti artists
were to prevail? It would look like <a href="https://en.wikipedia.org/wiki/Bristol">Bristol</a>, England, which I visited on my
trip to Banksy’s <a href="https://www.youtube.com/watch?v=V2NG-MgHqEk">Dismaland</a> (more about that in a later post): <a href="https://www.blogger.com/blogger.g?blogID=4865764596112100655" name="_GoBack"></a></div>
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Banksy's "Mild Mild West" next to The Canteen, which advertises itself as "responsible, delicious, and noisy", and where we had roasted duck salad with celeriac root fries. Those street artists eat well!</div>
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Work by friend, PETRO, who was our guide.<br />
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And I love these little whimsical bits you could easily miss. Later we went to the opening at Fluorescent Smogg Gallery to celebrate more work by PETRO and others:<br />
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<iframe allowfullscreen="" frameborder="0" height="500" mozallowfullscreen="" src="https://player.vimeo.com/video/138889431" webkitallowfullscreen="" width="500"></iframe> <a href="https://vimeo.com/138889431">COSMOGG SECRET INSTALL - BRISTOL 17th September</a> from <a href="https://vimeo.com/fluorescentsmogg">Fluorescent Smogg</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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All photographs by Carol Diehl © 2015<br />
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Carol Diehlhttp://www.blogger.com/profile/09023589628710711343noreply@blogger.com0tag:blogger.com,1999:blog-4865764596112100655.post-79439879601226103892015-09-28T10:01:00.000-04:002015-09-28T19:08:39.791-04:00Banksy and the Problem of Writing about Humor You Don’t Get (Dan Brooks in the NY Times, Part II)<div class="MsoNormal">
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In a <a href="http://artvent.blogspot.com/2015/09/banksys-dismaland-provokes-armchair.html">previous
post</a> I called out (and, I hope, shamed) Dan Brooks in his <i style="mso-bidi-font-style: normal;">NY Times</i> essay, “<a href="http://www.nytimes.com/2015/09/10/magazine/banksy-and-the-problem-with-sarcastic-art.html?_r=0">Banksy
and the Problem with Sarcastic Art</a>” for writing a negative critique of
Banksy’s pop-up theme park, <a href="http://dismaland.co.uk/">Dismaland</a>, without
bothering to actually experience it. Now I’d like to address another aspect of
that piece, the fact that Brooks doesn’t get British humor, thereby offending an entire culture.</div>
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Before expounding, Brooks might have, like any good writer,
consulted <a href="https://en.wikipedia.org/wiki/British_humour">Wikipedia</a>,
where it says: “<span style="color: #1c1c1c; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 14.0pt;">A strong theme of sarcasm and self-deprecation, often
with deadpan delivery, runs
throughout British humour.”
</span>This is a surprise? I thought humor was one of Britain’s most famous
exports. But then Brooks lives in Montana.</div>
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So, of course, the Brits say it best, as evidenced by these
comments on <a href="http://combatblog.net/">Brooks’s blog</a>:</div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: #535353; mso-bidi-font-family: Times; mso-bidi-font-size: 15.0pt;">Patricia</span></b><span style="color: #535353; mso-bidi-font-family: Times; mso-bidi-font-size: 15.0pt;">:<span style="mso-spacerun: yes;"> </span>Hello your piece about Dismaland was a
load of bollocks just saying .smiley face
<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: #535353; mso-bidi-font-family: Times; mso-bidi-font-size: 15.0pt;">Sam</span></b><span style="color: #535353; mso-bidi-font-family: Times; mso-bidi-font-size: 15.0pt;">:
Hey arsehole, I noticed you didn’t offer a right to reply on your hilarious
Banksy critique you coward. American critics can’t seem to help but embarrass
them selves when it comes to understanding British cultural work. The reason
you can’t pin down where the depth lies in his work is because you can only see
it through the lens of your own cultural experience you prick. Its not for you,
(American goal/success obsessed, materialists), its for us, (British people who
live under the yolk of class oppression). He’s made it clear he doesn’t want to
be in the work and that’s a big part of its value. Just accept it. It’s Far
more poignant and rare to see outward looking work like his, rather than most
American introspective conceptual art that’s obsessed with the artist and the
individual, that when you get down to it, exists as little more than in
invitation to fuck or be fucked. Write about shit you see in your own culture
but leave our work out of it.</span></div>
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<span style="color: #535353; mso-bidi-font-family: Cambria; mso-bidi-font-size: 15.0pt; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"> </span></span></span><br />
<!--[endif]--><b><span style="color: #262626; mso-bidi-font-family: Times; mso-bidi-font-size: 15.0pt;">Beaver</span></b><span style="color: #262626; mso-bidi-font-family: Times; mso-bidi-font-size: 15.0pt; mso-bidi-font-weight: bold;">:</span><span style="color: #535353; mso-bidi-font-family: Times; mso-bidi-font-size: 15.0pt;">
LOL. Takin’ some heat for your
Dismaland piece. I guess that’ll happen when you deconstruct the only
functioning tool in the room. And anyway, if you can thrill to the demagoguery,
than surely you can at least find some amusement in the irony of a society
which makes a bond of the chasm and defends it by hurling at you fragments of
their smashed and deconsecrated urn, the last remaining ashes of wit mixing
irretrievably in the wind with whatever comes next.<o:p></o:p></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGe_zOjetB8-59rfFFtOyUWjnKzgrWCnODSrnfSR8tDTxjWIJsgfrY9ydz8zlGCue_huffsZF3vPcIJ-Fe-vnu6YTSjmXKmZhJ1FGZuNsOsc3jPC2mIrDgxAp2JidXozr5WSFWqTQ3XJ8/s1600/_DSC0072.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGe_zOjetB8-59rfFFtOyUWjnKzgrWCnODSrnfSR8tDTxjWIJsgfrY9ydz8zlGCue_huffsZF3vPcIJ-Fe-vnu6YTSjmXKmZhJ1FGZuNsOsc3jPC2mIrDgxAp2JidXozr5WSFWqTQ3XJ8/s640/_DSC0072.JPG" width="640" /></a></div>
<span style="color: #535353; mso-bidi-font-family: Times; mso-bidi-font-size: 15.0pt;">Dismaland, featuring "Mediocre" by Axel Void of Miami. Photo: Carol Diehl © 2015</span><br />
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Carol Diehlhttp://www.blogger.com/profile/09023589628710711343noreply@blogger.com0tag:blogger.com,1999:blog-4865764596112100655.post-73670301284289499912015-09-21T10:32:00.002-04:002015-09-21T10:32:27.098-04:00Britain, the police, and a world without guns<div class="_1dwg" style="padding: 12px 12px 0px;">
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So Friday night, Ray, Magda, and I are sitting around chatting in their living room in London’s Hackney Wick, when Ray hears a sound in the garden and gets up to check, thinking it’s a fox. Instead four young gang members being chased by the police have climbed over the high brick walls and are now at the back door begging to get in. When we go to the front door there are police cars everywhere. Magda and I go upstairs to watch the drama unfold from the windows, a vivid lesson in the difference in policing styles between England and America. First of all, the cadre of cops that show up are a bunch of truly hot guys—young, slim, and handsome—like maybe the rugby team has come to the rescue. They get to the garden—not by breaking down our door—but by nimbly scaling the series of walls and as I watch one climb over the next wall in pursuit, I’m thinking that even if cops in America were that fit, they’d be weighed down by all the equipment they carry. I’m also realizing that if this were happening in America, guns would be involved, and instead of standing at the window, I’d be under the bed. We watched as they arrested two out front, and felt sad for everyone. The boys—who, we were told, been fighting in a gang war with knives, boards with nails in them and machetes—didn’t look evil, just young and clueless. The police were respectful and professional. When they left Ray went out to the garden to try to salvage his climbing cherry tomatoes, and I went to bed.</div>
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Carol Diehlhttp://www.blogger.com/profile/09023589628710711343noreply@blogger.com0tag:blogger.com,1999:blog-4865764596112100655.post-29403995014595040732015-09-10T21:16:00.000-04:002015-09-28T10:03:30.893-04:00Banksy and the Problem with Writing About Stuff You Haven't Been To (Dan Brooks in the NY Times)<div class="separator" style="clear: both; text-align: center;">
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One of <a href="https://en.wikipedia.org/wiki/Banksy">Banksy</a>’s
many talents is getting people in the public sphere to reveal themselves at their
most self-serving. Like turning over a rock, his Dismaland has brought to light
a gaggle of journalists (and/or editors, who goad them into it) willing to put
their scruples aside and gain exposure by taking advantage of Banksy’s
notoriety. I mean, really, you’d think that the first requirement of having an
opinion on any experience would be to actually have the experience. But
nooooo….first to tip me off to this phenom was a commenter who asked if the
author of the negative Dismaland critique in the <i style="mso-bidi-font-style: normal;">LA Times</i> had actually attended it. Then in today’s <i style="mso-bidi-font-style: normal;">New York Times Magazine</i>, one <a href="http://combatblog.net/?page_id=2">Dan Brooks</a> waxes at length on “<a href="http://www.nytimes.com/2015/09/10/magazine/banksy-and-the-problem-with-sarcastic-art.html">Banksy
and the Problem with Sarcastic Art</a>.” citing negative reviews from <a href="http://www.businessinsider.com/banksys-dismaland-is-bad-and-boring-2015-8">Business
Insider (“bad and boring”</a>), <a href="http://www.huffingtonpost.ca/shailee-koranne/banksy-and-dismaland_b_8049062.html">HuffPo
(“Dismaland is not interesting and neither is Banksy”)</a> and others to
bolster his point—while there’s no evidence that he, or any of the other
writers, found occasion to visit the event. This conundrum is especially
interesting when one considers that Brooks fancies himself a specialist in “<a href="http://combatblog.net/?cat=5012">ethical dilemmas</a>” who, in his <a href="http://combatblog.net/?p=7536">blog</a>, has taken issue with those having an opinion about a book they haven't read.</div>
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Rats! I should have written a critique of the Jeff Koons
retrospective, which I missed, based on my certain assumption that I would have
hated it. </div>
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Is this happening relative only to Banksy or does it portend
a trend? If so, it’s bad news for readers, good news for
writers who will no longer have to leave their chairs to cover music, art, theatre,
restaurants, etc. Think of the gas money they can save! And no need to get a
baby-sitter. As for hard news, staying home is not only a lot safer than going
into a war zone, the food is much better.</div>
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I’m off to Dismaland next week, will report. <br />
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Update: More on Dan Brooks's ethical dilemmas:<br />
<a href="https://reptiledysfunction.wordpress.com/2015/09/12/some-thoughts-on-sarcasm/">https://reptiledysfunction.wordpress.com/2015/09/12/some-thoughts-on-sarcasm/</a><br />
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Carol Diehlhttp://www.blogger.com/profile/09023589628710711343noreply@blogger.com1tag:blogger.com,1999:blog-4865764596112100655.post-44774073079387529442014-11-17T20:28:00.000-05:002019-12-17T22:33:09.560-05:00"Banksy Does New York": Banksy and Hannah Arendt<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: large;">The HBO documentary,
“<a href="http://www.hollywoodreporter.com/news/hbos-banksy-does-new-york-749498">Banksy Does New York</a>” reviews the anonymous British street artist’s month-long self-styled "residency" in New York where, in October of 2013, he generated a new work every
day for a month, touching down in all five boroughs. In a brief segment of the film, I discuss the artist’s engagement
with the writings of Hannah Arendt. The text is part of a lecture, “Banksy:
Completed,” in which I follow his clues to reveal the philosophical origins of his
work, given in the past year at University of Southern California/Fullerton, the Berkshire Museum, the
University for the Creative Arts in Canterbury, UK and upcoming, Rochester Institute of Technology. </span></div>
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<a href="http://untappedcities.com/wp-content/uploads/2013/10/Banksy-Housing-Works-Nazi-Officer-Painting-Landscape-23rd-Street-NYC-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" height="270" src="https://untappedcities.com/wp-content/uploads/2013/10/Banksy-Housing-Works-Nazi-Officer-Painting-Landscape-23rd-Street-NYC-2.jpg" width="400" /></span></a></div>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">For Day 29 of his unsanctioned sojourn in New York, Banksy repurposed
<span style="mso-bidi-font-family: Georgia;">an original artwork, an overwrought
pastoral oil painting purchased for $50 from a thrift store. With his painted
additi<a href="https://www.blogger.com/null" name="_GoBack"></a>on of a solitary Nazi officer seated in
contemplation on a bench, the scene of an autumn forest by a river with snowy
mountains in the distance is transformed from kitsch Americana to </span><a href="http://en.wikipedia.org/wiki/Caspar_David_Friedrich"><span style="mso-bidi-font-family: Georgia;">Caspar David Friedrich</span></a><span style="mso-bidi-font-family: Georgia;">-esque German Romanticism, the falling
yellow leaves now signifying the decline of the Nazi regime as well as a
warning, perhaps, of our own social and political decline. </span></span><br />
<span style="font-size: large;"><span style="mso-bidi-font-family: Georgia;"><br /></span>
<span style="mso-bidi-font-family: Georgia;">Scrawling his
signature under that of the original artist, </span><span style="background: #FCFCFC; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Banksy,
on his website (which existed only for the duration of the “residency”),
entitled the work "<i style="mso-bidi-font-style: normal;"><span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">The banality of the banality of evil</span></i>, oil on oil on
canvas, 2013," and described it as "a thrift store painting
vandalized then re-donated to the thrift store,"</span><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">
with the intention that the proceeds go to the <span style="background: #FCFCFC;">Brooklyn-based
nonprofit that benefits homeless people living with HIV/AIDS. Housing Works
auctioned it off and ultimately, after much bidding drama, netted at least
$450,000.</span><o:p></o:p></span></span><br />
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<span style="font-size: large;"><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">On the </span><a href="http://blogs.villagevoice.com/runninscared/2013/10/banksy_nazi_hiv_housing_works.php"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Village Voice</span></i><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">
blog,</span></a><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> writer<span style="color: #717171;"> </span>Raillan
Brooks no doubt Googled “the banality of evil” to discover that it was
associated with Holocaust escapee and philosopher </span><a href="http://en.wikipedia.org/wiki/Hannah_Arendt"><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Hannah Arendt</span></a><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">’s<span style="background: #fcfcfc; color: black;"> “theoretical reckoning of the Nazis'
rise to power.” Brooks, concluded, however, that it more likely had “something
to do with Banksy not really caring much about what he's actually saying”—when
it’s clearly the theme that underlies all his subversive enterprises. <o:p></o:p></span></span></span></div>
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<span style="font-size: large;"><i style="mso-bidi-font-style: normal;"><span style="background: #fcfcfc; color: black;">A Report on the Banality of Evil</span></i><span style="background: #fcfcfc; color: black;"> is the subtitle of Arendt’s 1963 book, </span><a href="http://en.wikipedia.org/wiki/Eichmann_in_Jerusalem"><i style="mso-bidi-font-style: normal;"><span style="background: #FCFCFC; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Eichmann in Jerusalem</span></i></a><i style="mso-bidi-font-style: normal;"><span style="background: #fcfcfc; color: black;">,</span></i><span style="background: #fcfcfc; color: black;"> an eyewitness account of the Nazi criminal
trial of </span><a href="http://en.wikipedia.org/wiki/Adolf_Eichmann"><span style="background: #FCFCFC; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Adolf Eichmann</span></a><span style="background: #fcfcfc; color: black;">, who was accused of engineering the extermination of
European Jews. Writing originally in <i style="mso-bidi-font-style: normal;">The
New Yorker</i>,</span><span style="color: #262626; mso-bidi-font-family: Georgia;">
Arendt expressed shock that Eichmann did not come across as a monster, but “terribly
and terrifyingly normal,” a man whose thinking was so conventional that he spoke
only in clichés. This led Arendt to develop her thesis that beyond </span><span style="background: #fcfcfc; color: black;">Hitler’s vile nature, it was the mediocrity of
his functionaries, their unwillingness to think for themselves while attempting
to fulfill their mundane needs and individual ambitions—hence their
banality—that enabled the Nazi atrocities</span><span style="color: #262626; mso-bidi-font-family: Georgia;">.</span><span style="color: #1a1a1a; mso-bidi-font-family: Georgia;"> </span><span style="background: #fcfcfc; color: black;">Therefore
Banksy’s title has to do with the original painting being itself a cliché, the
work of a painter who is trying to please others rather than thinking for
himself, and by inserting the Nazi officer, Banksy is adding a symbol of
banality to banality, with his “oil on oil.”</span></span></div>
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<span style="font-size: large;"><span style="background: #fcfcfc; color: black;">While
being tried as a war criminal, Eichmann insisted on his innocence: he never
killed anyone or ordered that anyone be killed, nor did he have a grudge
against Jews. He was a man eager to get ahead and his job, which he fulfilled
efficiently, was to arrange for the transportation of Jewish prisoners to death
camps. To do otherwise, he explained on the stand, would be to break the law at
the time, and he was not a law-breaker. Their destination was not his
responsibility. Upon hearing his sentence of death, Eichmann said, “</span><span style="background: #fffef5; color: #111111;">I am convinced in the depths of my heart that
I am being sentenced for the deeds of others.”<o:p></o:p></span></span><br />
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<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUjw-fXXaq5Xm9crI8alEtG1muh8Xwj87j8xx1wrDPj64eiabO0tgU-NhH9xTlGKXMf7cna3xbJ-00JIKdzsvWGzhcxmAqYvlVJJJy0zszhL8YzP6Sn_30oRm5JTtJxsWPwapUKKF6IUA/s1600/21stone1-blog480.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="330" data-original-width="480" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUjw-fXXaq5Xm9crI8alEtG1muh8Xwj87j8xx1wrDPj64eiabO0tgU-NhH9xTlGKXMf7cna3xbJ-00JIKdzsvWGzhcxmAqYvlVJJJy0zszhL8YzP6Sn_30oRm5JTtJxsWPwapUKKF6IUA/s320/21stone1-blog480.jpg" width="320" /></span></a></div>
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<span style="font-size: large;"><span style="background: #fcfcfc; color: black;">This
concept is at the heart of Bernhard Schlink’s 1995 novel, </span><a href="http://en.wikipedia.org/wiki/The_Reader"><i style="mso-bidi-font-style: normal;"><span style="background: #FCFCFC; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">The Reader</span></i></a><i style="mso-bidi-font-style: normal;"><span style="background: #fcfcfc; color: black;">, </span></i><span style="background: #fcfcfc; color: black;">later made into a film. One of two main
characters, Hanna, is being tried for war crime, but she’s not an officer,
nothing like it, simply a guard who never considers the possibility that she
could defy orders and unlock the burning church in which most of her prisoners
die. Like Eichmann, what’s chilling about Hanna is her ordinariness; she’s just
doing her job. Arendt suggests that evil is more accidental than intentional,
less a result of ideology and conviction than a by-product of petty ambition
and the drive for personal security. <o:p></o:p></span></span></div>
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<span style="font-size: large;"><span style="background: #fcfcfc; color: black;">Expanding
on Arendt’s thesis was Stanley Milgram’s famous </span><a href="http://en.wikipedia.org/wiki/Milgram_experiment"><span style="background: #FCFCFC; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">psychological
experiment</span></a><span style="background: #fcfcfc; color: black;"> </span><span style="background: white; color: black;">that measured the willingness of study participants
to obey</span><span class="apple-converted-space"><span style="background: white; color: black;"> </span></span><span style="background: white; color: black;">an<span class="apple-converted-space"> authority figure</span></span><span class="apple-converted-space"><span style="background: white; color: black;"> </span></span><span style="background: white; color: black;">who instructed them to inflict what they thought were
electrical shocks on a hidden subject, an actor whose screams they could hear. Milgram
concluded that, “Ordinary people, simply doing their jobs, and without any
particular hostility on their part, can become agents in a terrible destructive
process.... (When) asked to carry out actions incompatible with fundamental
standards of morality, relatively few people have the resources needed to
resist authority.”<o:p></o:p></span></span></div>
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<span style="font-size: large; mso-bidi-font-family: Cambria;">Commenting on
this experiment, Banksy has noted, “Garments are symbols of authority and we
have a powerful tendency to accept authority….Take the man out of the doctor's
costume and his test subjects refuse to do it.”<o:p></o:p></span></div>
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<span style="font-size: large;"><span style="mso-bidi-font-family: Cambria;">Ironically, while
railing against this failure of humans to question their environment, Banksy
consciously uses it to his own ends. Not one to skulk around in a hoodie, as he
appears in his 2011 film “</span><a href="https://www.youtube.com/watch?v=AtuDgiVzreU"><span style="mso-bidi-font-family: Cambria;">Exit Through the Gift Shop</span></a><span style="mso-bidi-font-family: Cambria;">,” one of his methods for avoiding detection is to look as official as
possible.<span style="mso-spacerun: yes;"> </span>To “turn invisible” he
recommends a high-vis vest, hardhat, clipboard, and business cards—not to speak
of three stories of scaffolding </span><a href="http://www.telegraph.co.uk/news/uknews/1895625/Banksy-pulls-off-daring-CCTV-protest-in-London.html"><span style="mso-bidi-font-family: Cambria;">under a CCTV camera</span></a><span style="mso-bidi-font-family: Cambria;">.<o:p></o:p></span></span></div>
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<a href="http://s3-us-west-2.amazonaws.com/hypebeast-wordpress/image/2008/04/banksy-one-nation-under-cctv-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" height="400" src="https://s3-us-west-2.amazonaws.com/hypebeast-wordpress/image/2008/04/banksy-one-nation-under-cctv-2.jpg" width="290" /></span></a></div>
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<span style="background: #fcfcfc; color: black; font-size: large;">It is
therefore significant that Banksy’s Nazi officer is not depicted as an ogre,
but a lover of nature, which makes him all the more normal and therefore frightening.
In that context, Banksy’s entire crusade can be seen as one against what Arendt
called a “failure to think” or, in other words, mediocrity and banality in all
its forms.<o:p></o:p></span></div>
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<span style="font-size: large;"><i style="mso-bidi-font-style: normal;"><span style="color: #131313; mso-bidi-font-family: Georgia;">The greatest crimes in the
world are not committed by people breaking the rules but by people following
the rules. It's people who follow orders that drop bombs and massacre villages.
</span></i><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Helvetica;">As a precaution to ever committing major acts of evil it is our
solemn duty never to do what we're told, this is the only way we can be sure. <o:p></o:p></span></i></span></div>
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<span style="font-size: large;"><span style="mso-bidi-font-family: Helvetica;">--Banksy, <i style="mso-bidi-font-style: normal;">Wall and Piece.</i></span><i style="mso-bidi-font-style: normal;"><span style="color: #131313; font-family: "georgia";"><o:p></o:p></span></i></span></div>
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Carol Diehlhttp://www.blogger.com/profile/09023589628710711343noreply@blogger.com0tag:blogger.com,1999:blog-4865764596112100655.post-19515610300736297852014-06-16T07:00:00.004-04:002021-09-20T12:17:20.896-04:00Dirty Sugar: Kara Walker’s dubious alliance with Domino<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTP2JIIHNuOtAxO-bbfbQIWcbcrRcHDHj3z-DHEST3T3-2VsGtYT4Ou3xHnaAPcAAuSinL2oYIp71fgJLso7FUn6MIYuYl841os-CJp1ChZB55CQ_0MrWaUu1jFMF9f0p-5fWsWT9iFW4/s1600/10440631_10202101481366760_2102382507185666530_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTP2JIIHNuOtAxO-bbfbQIWcbcrRcHDHj3z-DHEST3T3-2VsGtYT4Ou3xHnaAPcAAuSinL2oYIp71fgJLso7FUn6MIYuYl841os-CJp1ChZB55CQ_0MrWaUu1jFMF9f0p-5fWsWT9iFW4/s1600/10440631_10202101481366760_2102382507185666530_n.jpg" width="400" /></a></div>
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<b style="font-size: x-small; text-align: left;">Photo: Dennis Kardon © 2014</b></div>
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There’s much that disturbs me about <a href="http://en.wikipedia.org/wiki/Kara_Walker">Kara Walker</a>’s <a href="http://www.vulture.com/2014/05/art-review-kara-walker-a-subtlety.html">much-lauded</a>
and wildly popular <a href="http://creativetime.org/projects/karawalker/">installation</a>
at Brooklyn’s defunct Domino Sugar refinery, but I’ll start with its undeniable
beauty. Made of sparkling white sugar, this gigantic, crouching sphinx-like figure,
with curves like a <a href="http://en.wikipedia.org/wiki/Constantin_Br%C3%A2ncu%C8%99i">Brancusi</a>,
looms like a symbol of purity in the vast darkness and decay of the factory’s
interior. The sweet smell is overwhelming, and the piece itself is intended to
degrade over time; when I was there, skeletal dark lines were beginning to form
between the polystyrene blocks that form the core of the sculpture.
Conceptually and figuratively, it’s a virtuoso performance that brilliantly
fulfills part of nonprofit <a href="http://creativetime.org/">Creative Time</a>’s
original mission to ”<span style="background-color: white; background: white; color: #252525;">support
the creation of innovative, site-specific, socially engaged works in the public
realm, especially in vacant spaces of historical and architectural interest…while
pushing artists beyond their normal boundaries.</span><span style="background-color: white; background: white; color: #252525; font-size: 10.5pt;">” [See note below]</span><span style="background-color: white; background: white; color: #252525; font-family: "helvetica"; font-size: 10.5pt;"><o:p></o:p></span></div>
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<span style="background-color: white; background: white; color: #252525;">So why
does its beauty upset me? Because the installations’ sheer gorgeousness and
spectacle serve as a distraction from the insidious agenda that makes a mockery
of another part of Creative Time’s mission, to “</span><span style="color: #1c1c1c; mso-bidi-font-family: Helvetica;">foster social progress.”<span style="mso-spacerun: yes;"> </span></span><span style="background-color: white; background: white; color: #252525;">I have long felt that Walker’s work</span><span style="background-color: white; color: #252525;">—</span><span style="background-color: white; background: white; color: #252525;">in which Black people are portrayed as passive victims of slavery engaged in psycho-sexual drama</span><span style="background-color: white; color: #252525;">—</span><span style="background-color: white; background: white; color: #252525;">doesn’t invalidate, but rather
reinforces the stereotypes whites have imposed on them to justify racism. In addition, it is entirely dependent on the gratuitous titillation that violence and sex
inevitably engender, regardless of the context—or the race of the person who
perpetrates them. Walker’s sphinx conflates two familiar white parodies of Black women: the big-assed, sexually available </span><a href="http://www.ferris.edu/jimcrow/jezebel.htm"><span style="background-color: white; background: white; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Jezebel</span></a><span style="background-color: white; background: white; color: #252525;">, with her vulva hanging out for the taking,
and her opposite, the maternal, large-breasted but desexualized </span><a href="http://www.ferris.edu/jimcrow/mammies/"><span style="background-color: white; background: white; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Mammy</span></a><span style="background-color: white; background: white; color: #252525;">, who sublimates her own needs to fulfill those
of her white charges.</span></div>
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<span style="background-color: white; background: white; color: #252525;">Vulgar
photos taken by visitors posing with the “sphinx” are all over </span><a href="http://instagram.com/"><span style="background-color: white; background: white; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Instagram</span></a><span style="background-color: white; background: white; color: #252525;">, and </span><a href="http://www.bkmag.com/2014/06/09/white-people-problems-on-kara-walker-and-the-way-white-people-interact-with-black-art/"><span style="background-color: white; background: white; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">castigated online</span></a><span style="background-color: white; background: white; color: #252525;"> by writers who are upset that the artwork is not being shown
proper respect. Derived from </span><a href="http://en.wikipedia.org/wiki/Minstrel_show"><span style="background-color: white; background: white; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">minstrel
shows</span></a><span style="background-color: white; background: white; color: #252525;"> where
whites in blackface lampooned Black people, the Jim Crow caricatures Walker appropriates were
created with the specific intention of provoking ridicule. Should we then be
surprised when they succeed? <o:p></o:p></span></div>
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<a href="http://en.wikipedia.org/wiki/Roberta_Smith">Roberta
Smith</a> in the <a href="http://www.nytimes.com/2014/06/13/arts/design/museum-gallery-listings-for-june-13-19.html"><i style="mso-bidi-font-style: normal;">Times</i></a> writes that Walker “<span style="color: #262626; mso-bidi-font-family: Georgia;">evokes the history of the
sugar trade, its dependence on slavery and slavery’s particular degradation of
women, while also illuminating the plagues of obesity and diabetes that keep so
many American dreams unfulfilled.” Yet it can also be said that</span> Walker is
providing massive advertising for <a href="http://www.dominosugar.com/">Domino Sugar</a>,
which donated the 80 tons that make up the sculpture. As a sponsor, the
familiar Domino logo is prominently featured on a wall at the site as well as
Creative Time’s <a href="http://creativetime.org/projects/karawalker/project-support/">website</a>,
and a Google search for ‘“Kara Walker” Domino’ garners over 88,000 links. Statements
that speak of “history,” along with the fact that Walker’s images are based nostalgically
on our antebellum past, present a view of slavery that locates it dangerously
outside the present capitalist global economy—when it is still very much part
of it. <o:p></o:p></div>
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While Creative Time’s website includes a <a href="http://creativetimereports.org/2014/05/05/edwidge-danticat-the-price-of-sugar/">compelling
essay</a> written by the narrator of a <a href="http://www.sugarbabiesfilm.com/cgi-local/content.cgi?pg=1">documentary</a>
about the forced and child labor that constitute modern slavery, it doesn’t
name the mega-corporation that owns Central Romano, the plantation on which it was filmed: Flo-Sun,
of which Domino is its best-known subsidiary. If the people at Creative Time,
along with Walker, have seen this film—as indeed they must have in their
research—I wonder how they feel about the ironic possibility that Walker’s
sculpture might have been enabled by slave labor.<span style="color: #262626; mso-bidi-font-family: Georgia;"><o:p></o:p></span></div>
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<a href="http://en.wikipedia.org/wiki/Fanjul_brothers">Pepe
and Alfy Fanjul</a>, who run Flo-Sun, inherited the sugar empire from their
Cuban father. <a href="http://floridaindependent.com/25447/the-fanjuls-the-koch-brothers-of-south-florida">Dubbed</a>
“the Koch brothers of Southern Florida,” they‘re said to be friends and
neighbors of the <a href="http://en.wikipedia.org/wiki/Koch_family">Kochs</a>
who, in comparison with the sugar barons, look like Mother Theresa clones. <o:p></o:p></div>
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<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: "Times New Roman";">In the Dominican Republic, the
Fanjuls have been subject to repeated allegations of labor exploitation,
particularly of undocumented Haitian migrant workers with little to no legal
standing before Dominican government institutions. The U.S. Department of
Labor includes sugar from the Dominican Republic—much of which comes from
Fanjul-owned plantations or is imported to Fanjul-owned refineries—on its
annual </span></i><a href="http://www.dol.gov/ilab/reports/child-labor/list-of-goods/"><i style="mso-bidi-font-style: normal;"><span style="color: blue; mso-bidi-font-family: "Times New Roman";">"List of Goods Produced by Child or Forced Labor."</span></i></a><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: "Times New Roman";">
Both a 2005 </span></i><a href="http://www.youtube.com/watch?v=8hcAjyOFX1M"><i style="mso-bidi-font-style: normal;"><span style="color: #000d51; text-decoration: none;">Canadian Broadcasting
Company documentary</span></i></a><i style="mso-bidi-font-style: normal;"><span style="color: #000d51; mso-bidi-font-family: "Times New Roman";"> </span></i><span style="color: #000d51; mso-bidi-font-family: "Times New Roman";">[“The Price of
Sugar,” narrated by Paul Newman, </span><a href="https://www.youtube.com/watch?v=tp_EkCesIp8"><span style="mso-bidi-font-family: "Times New Roman";">view here</span></a><span style="color: #000d51; mso-bidi-font-family: "Times New Roman";">]</span><i><span style="mso-bidi-font-family: "Times New Roman";">
and the 2007 film </span></i><a href="http://www.sugarbabiesfilm.com/"><i><span style="color: blue; mso-bidi-font-family: "Times New Roman";">"The Sugar
Babies,"</span></i></a><i><span style="mso-bidi-font-family: "Times New Roman";"> narrated
by Haitian writer Edwidge Danticat</span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman"; font-size: 14pt;"> </span></i><span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: "Times New Roman"; mso-hansi-font-family: Cambria;">[author of the Creative Time essay]</span><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman"; font-size: 14pt;"> </span></i><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: "Times New Roman";">call attention to the working
conditions of impoverished cane-cutters laboring at the Fanjuls' Central Romana.
In the United States, meanwhile, opponents of </span></i><a href="http://www.washingtonpost.com/politics/sugar-protections-prove-easy-to-swallow-for-lawmakers-on-both-sides-of-aisle/2013/12/07/f5959c06-5ac4-11e3-bf7e-f567ee61ae21_story.html"><i style="mso-bidi-font-style: normal;"><span style="color: #000d51; text-decoration: none;">U.S. agricultural
subsidies and government protections</span></i></a><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: "Times New Roman";"> have long
criticized the Fanjuls for building their dominance in the domestic market on
the backs of artificially inflated prices and the U.S. taxpayer…</span></i><span style="font-family: "times new roman"; font-size: 14pt;">.</span> <a href="https://nacla.org/news/2014/2/6/alfy-fanjul-eyes-cuban-sugar-despite-labor-allegations"><span style="mso-bidi-font-family: "Times New Roman";">more</span></a><span class="MsoHyperlink"><span style="mso-bidi-font-family: "Times New Roman";"><o:p></o:p></span></span></div>
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<span class="MsoHyperlink"><span color="windowtext" style="mso-bidi-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">Essential
reading includes the 2001 </span></span><a href="http://www.vanityfair.com/business/features/2001/02/floridas-fanjuls-200102"><i>Vanity
Fair </i>article</a><span class="MsoHyperlink"><span color="windowtext" style="text-decoration: none;"><i>, </i>“In the Kingdom of Big Sugar,” </span></span><span class="MsoHyperlink"><span color="windowtext" style="mso-bidi-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">which inspired the
two documentaries, a </span></span><a href="http://www.cnn.com/ALLPOLITICS/time/1998/11/16/sweet.deal.html"><span style="mso-bidi-font-family: "Times New Roman";">CNN piece</span></a><span class="MsoHyperlink"><span color="windowtext" style="mso-bidi-font-family: "Times New Roman"; text-decoration: none; text-underline: none;"> on how the Fanjuls
could be the “First Family of Corporate Welfare,” and </span></span><a href="http://www.palmbeachpost.com/news/news/wikileaks-fanjuls-among-sugar-barons-who-muscled-l/nL2wg/"><span style="mso-bidi-font-family: "Times New Roman";">this</span></a><span class="MsoHyperlink"><span color="windowtext" style="mso-bidi-font-family: "Times New Roman"; text-decoration: none; text-underline: none;"> on their strong-arm
tactics with lawmakers, from Wikileaks.</span></span><span class="MsoHyperlink"><span style="font-family: "times new roman"; font-size: 14pt; text-decoration: none;"><o:p></o:p></span></span></div>
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<span class="MsoHyperlink"><span color="windowtext" style="mso-bidi-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">You
could spend days, as I did, reading about the moral and ethical transgressions of
the Fanjuls, and just when you think it couldn’t get worse, it does: In 2010,
the </span></span><a href="http://pagesix.com/2010/10/09/billionaire-wont-fire-assisant-for-kkk-link/"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Times;">Post’s</span></i><span style="mso-bidi-font-family: Times;"> <i style="mso-bidi-font-style: normal;">Page
Six</i></span></a><span class="MsoHyperlink"><span color="windowtext" style="mso-bidi-font-family: "Times New Roman"; text-decoration: none; text-underline: none;"> reported
that Pepe Fanjul’s executive assistant of 35 years </span></span><span style="color: #222323; mso-bidi-font-family: Times;">is the ex-wife of former KKK
leader </span><a href="http://en.wikipedia.org/wiki/David_Duke"><span style="mso-bidi-font-family: Times;">David Duke</span></a><span style="color: #222323; mso-bidi-font-family: Times;">, and the current wife of </span><a href="http://en.wikipedia.org/wiki/Don_Black_(white_nationalist)"><span style="mso-bidi-font-family: Times;">Don Black</span></a><span style="color: #222323; mso-bidi-font-family: Times;">, a former KKK grand wizard and member of the American
Nazi Party. He now runs white-supremacist website StormFront.org. A company representative
said, “While we may not agree with someone’s politics, we wouldn’t terminate
them for that….We will not discriminate against anybody….” <o:p></o:p></span></div>
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<span class="MsoHyperlink"><span color="windowtext" style="mso-bidi-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">One
could also make an issue of the extensive advertising Walker is providing for
another sponsor, </span></span><a href="http://twotreesny.com/"><span style="mso-bidi-font-family: "Times New Roman";">Two Trees Management</span></a><span class="MsoHyperlink"><span color="windowtext" style="mso-bidi-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">, owned by Creative
Time board member </span></span><a href="http://online.wsj.com/articles/dynasties-when-the-going-got-tough-on-domino-sugar-deal-jed-walentas-of-two-trees-got-going-1402277908"><span style="mso-bidi-font-family: "Times New Roman";">Jed Walentas</span></a><span class="MsoHyperlink"><span color="windowtext" style="mso-bidi-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">, who worked for </span></span><a href="http://www.trump.com/"><span style="mso-bidi-font-family: "Times New Roman";">Trump</span></a><span class="MsoHyperlink"><span color="windowtext" style="mso-bidi-font-family: "Times New Roman"; text-decoration: none; text-underline: none;"> before taking over
his father’s real estate business, and will have 1700 luxury apartments to sell
in his massive waterfront development on the site (as well as 700 affordable
units, the number bumped up under pressure from Mayor de Blasio). And then
there’s the non-renewable polystyrene that went into this gigantic
temporary work that, like Styrofoam, could take a million years to break down. However
next to the question of how the 80 tons of Fanjul sugar were most likely sourced,
these are mere quibbles. <o:p></o:p></span></span></div>
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<span class="MsoHyperlink"><span color="windowtext" style="mso-bidi-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">So
much for institutionalized protest—to paraphrase Banksy, this is art packaged to look like
radicalism while supporting capitalism at its worst.<o:p></o:p></span></span></div>
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<span class="MsoHyperlink"><span color="windowtext" style="mso-bidi-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">Next:
</span></span><a href="http://untappedcities.com/2013/10/04/banksy-in-nyc-day-4-occupy-the-musical-in-bushwick-brooklyn-is-already-gone/"><span style="mso-bidi-font-family: "Times New Roman";">“Occupy!” (The Musical</span></a><span class="MsoHyperlink"><span style="mso-bidi-font-family: "Times New Roman";">)</span></span><span class="MsoHyperlink"><span color="windowtext" style="mso-bidi-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">, brought to you by
Citibank. <o:p></o:p></span></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc72hsZTeHqBuMlU3Zator4kt4QUAwmu6r-Rmfuw0RW7RctrhwgPXFDFu6SxqqSm_tf8Sn8SgOOGDEsp1brVpZkPnqwI0sN21B1F-2wF2JZcKUIjeu4yKG594dongXfH_PJeG-RaAA2g0/s1600/photo.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc72hsZTeHqBuMlU3Zator4kt4QUAwmu6r-Rmfuw0RW7RctrhwgPXFDFu6SxqqSm_tf8Sn8SgOOGDEsp1brVpZkPnqwI0sN21B1F-2wF2JZcKUIjeu4yKG594dongXfH_PJeG-RaAA2g0/s1600/photo.JPG" width="316" /></a></div>
<div class="MsoNormal" style="text-align: left;">
<b style="font-size: x-small;">Photo: Carol Diehl (2014)</b></div>
<div align="center" class="MsoNormal" style="text-align: center;">
***<o:p></o:p></div>
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Note: I lifted this
mission statement from <a href="http://en.wikipedia.org/wiki/Creative_Time">Creative
Time’s Wikipedia entry</a>, well aware that it is not same <a href="http://creativetime.org/about/#mission">statement</a> that appears on
their website. However having been Director of Public Relations (a somewhat
hilarious title, given that I was the entire department) for Creative Time in
the mid-80’s, when it was a pioneering organization and very true to its
nonprofit status, these were the words used to promote it and I feel best
represents the inspired vision of founder <a href="http://www.culturaldata.org/about/boardofdirectors/anita-contini/">Anita
Contini</a>.<br />
<br />
Related reading: <a href="http://nymag.com/news/features/walentas-two-trees-management-company-2014-6/">The Flying Walentases</a> (on the developers in NY Mag), Marina Budhos's <a href="http://www.huffingtonpost.com/marina-budhos/kara-walker-the-real-suga_b_5404153.html">Kara Walker and the Real Sugar Links</a>, Nicholas Powers, <a href="http://www.indypendent.org/2014/06/30/why-i-yelled-kara-walker-exhibit">Why I Yelled at the Kara Walker Exhibit</a> and the anthololgy, <i><a href="https://www.amazon.com/Kara-Walker-No-Yes/dp/1877675725" target="_blank">Kara Walker No/Kara Walker Yes/Kara Walker?</a></i><h1 class="a-spacing-none a-text-normal" id="title" style="box-sizing: border-box; caret-color: rgb(15, 17, 17); color: #0f1111; font-family: "Amazon Ember", Arial, sans-serif; font-size: 28px; line-height: 36px; margin-bottom: 0px !important; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding: 0px; text-rendering: optimizelegibility; text-size-adjust: auto;"><br /></h1></div>
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<o:p></o:p></div>
Carol Diehlhttp://www.blogger.com/profile/09023589628710711343noreply@blogger.com27tag:blogger.com,1999:blog-4865764596112100655.post-40253538468136026652014-01-05T19:09:00.000-05:002014-01-05T19:10:19.929-05:00Winter Hiatus<div class="MsoNormal">
Just a note to say that I haven’t abandoned blogging, just
taking a break after seven years and over 500 posts--and saving myself for drawing
and a bigger project, yet to be unveiled, that’s taking up all of my brain
cells. Right now I’m happily ensconced in Los Angeles, soaking up the sun, doing
kundalini yoga every day, and thriving in the relaxed atmosphere. I'll work
on trying to miss New York, because I’ll be back soon enough.</div>
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<o:p></o:p></div>
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Happy New Year!<o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEcq-kmsEoFabRU-QitW4_Y9eWh7s2lya5GXhZ-EzQG4wW98SjFctCxTyDtWCxm8S1_9UcNranKXimP6gmbr1R-NgNbfPUUShyphenhyphen2Z9mtsbZeymodkpNnKRkm3hTKQ20da6XSa-g74g6NeA/s1600/Image.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEcq-kmsEoFabRU-QitW4_Y9eWh7s2lya5GXhZ-EzQG4wW98SjFctCxTyDtWCxm8S1_9UcNranKXimP6gmbr1R-NgNbfPUUShyphenhyphen2Z9mtsbZeymodkpNnKRkm3hTKQ20da6XSa-g74g6NeA/s1600/Image.jpg" height="316" width="400" /></a></div>
<div class="MsoNormal">
<b><span style="font-size: xx-small;">Carol Diehl, 2013, ink and pencil on Bristol, 11 x 14.</span></b> </div>
Carol Diehlhttp://www.blogger.com/profile/09023589628710711343noreply@blogger.com0tag:blogger.com,1999:blog-4865764596112100655.post-11078234444885530352013-11-03T21:50:00.001-05:002013-11-03T21:51:19.686-05:00I ♥ the Guggenheim<div class="MsoNormal">
If anything, by completely obscuring <a href="http://en.wikipedia.org/wiki/Frank_Lloyd_Wright">Frank Lloyd Wright</a>’s
architecture with his <a href="http://artvent.blogspot.com/2013/08/a-dim-view-why-turrell-at-guggenheim.html">installation</a>,
<a href="http://jamesturrell.com/">James Turrell</a> reaffirmed my already
profound love for the <a href="http://en.wikipedia.org/wiki/Solomon_R._Guggenheim_Museum">Guggenheim</a>
–like the new appreciation one might have for a healed limb after the cast has
been removed.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
At the museum Friday for the <a href="http://www.guggenheim.org/new-york/exhibitions/on-view/christopher-wool">Christopher
Wool exhibition</a>, I was reminded of how Wright created not just a place for
art, but for people—a social space in one big room that hums like a party. In
most museums the other visitors are annoyances, always in the way, going the wrong
direction, talking too loudly or blocking the view—but at the Guggenheim
they’re fellow travellers. The ramp is like a sidewalk where you can stop and
chat (no need to whisper); it respects your pace. You can see what’s ahead above
or across the atrium and get exited about it in advance, stand as close or look
as far as you want. What other museum offers a view from over 100 feet? <o:p></o:p></div>
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<br /></div>
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Plus the natural light that comes in from the skylight at
the top….<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
In the usual rectangular museum gallery, I’m overly
conscious of the amount of time I’m spending in front of something, and am
always torn – should I be looking at this or this or is there something more
interesting behind me? What am I missing? And this time at the Guggenheim, when
I exited the ramp to see the paintings installed in the one conventional room,
they lost some of their dynamism. I didn’t want to be there, enclosed, with no
windows. I wanted to be “outside.”<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
I not only remember the work in exhibitions I’ve seen at the
Guggenheim, I remember where it was situated and how it felt to come upon it—the
“<span style="background: white; color: black; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">uninterrupted, beautiful
symphony” of architecture and art Wright intended. </span><o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
Further, there’s a single toilet or two at every level, so
no need to descend to a dungeon and crowd into the usual bathroom
horribleness—how civilized is that?<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
Our forebears made art on the walls of caves with no right
angles. I think they had had the right idea.<span style="font-family: Times; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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Carol Diehlhttp://www.blogger.com/profile/09023589628710711343noreply@blogger.com4tag:blogger.com,1999:blog-4865764596112100655.post-57185118156135013012013-10-04T21:55:00.000-04:002013-10-05T20:04:01.680-04:00An afternoon in Chelsea<br />
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<span style="font-size: xx-small;"><b>18th Street, between 10th and 11th</b></span><br />
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<span style="font-size: xx-small;"><b>Hauser &Wirth, 511 WEst 18th Street</b></span></div>
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<span style="font-size: xx-small;"><b>20th Street</b></span></div>
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<span style="font-size: xx-small;"><b>Eleventh Avenue</b></span></div>
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<b><span style="font-size: xx-small;">Bortolami Gallery, 520 West 20th Street</span></b><br />
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<b style="font-size: x-small;">Tenth Avenue sidewalk</b><br />
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<b style="font-size: x-small;">29th Street between 9h and 10th</b></div>
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<b><span style="font-size: xx-small;">29th Street, between 10th and 11th</span></b>Carol Diehlhttp://www.blogger.com/profile/09023589628710711343noreply@blogger.com2tag:blogger.com,1999:blog-4865764596112100655.post-52951059226816874452013-09-11T07:12:00.000-04:002013-09-11T07:12:01.682-04:00Robert Irwin on "Scrim Veil-Black Rectangle-Natural Light (1977)" recently at the Whitney<div class="MsoNormal">
In my <a href="http://artvent.blogspot.com/2013/08/a-dim-view-why-turrell-at-guggenheim.html">previous post</a> about <a href="http://www.guggenheim.org/new-york/press-room/releases/5467-turrellrelease">James Turrell at the Guggenheim</a> and <span style="mso-bidi-font-weight: bold;"><a href="http://en.wikipedia.org/wiki/Robert_Irwin_(artist)">Robert Irwin</a>’s re-installation of <span style="mso-bidi-font-style: normal;"><a href="http://whitney.org/Exhibitions/RobertIrwin"><i>Scrim Veil-Black
Rectangle-Natural Light, 1977 </i>at the Whitney (June 27-Sept 1, 2013)</a></span></span>, I suggested
that Irwin might have taken <a href="http://en.wikipedia.org/wiki/Marcel_Breuer">Marcel
Breuer</a>’s trapezoidal window as his starting point, given that the window’s
narrow black frame appeared to share both color and dimension with his long horizontal bar and the painted black stripe that runs, also horizontally, around the walls. When I wrote to the museum for exact measurements, however, I was told “<span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Cambria; mso-hansi-font-family: Cambria;">the curators are unaware of any correlation between the dim [frame] on
the window and the width of the black stripe.” Knowing the precise observation inherent in Irwin's work,</span> I decided to put the question to the artist himself. In doing so I gained insight
into what Irwin was thinking when he first entered the Whitney gallery 35 years
ago, and how the philosophy that drove that piece is still at play in his work
today. The following is from a phone conversation on September 3, 2013.<br />
<span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Cambria; mso-hansi-font-family: Cambria;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: xx-small;">Robert Irwin, <i>Scrim Veil-Black Rectangle-Natural Light, </i>1977 (reinstalled). Photo: <a href="http://www.flavourcountryfeedlot.com/2013/08/economy-of-means.html">Vaughn Tan</a></span></b><br />
<b style="mso-bidi-font-weight: normal;"><br /></b>
<b style="mso-bidi-font-weight: normal;">CD: I wrote in my
post that the window, whose black frame roughly matches the elements you added,
appeared to be your starting point. Is that so?<o:p></o:p></b></div>
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<b style="mso-bidi-font-weight: normal;">RI:</b> No. The first
thing that struck me when I entered the room at the Whitney, was the black
floor. Then there’s the ceiling, not handsome, but a factor, and the quality of
the light from the window, the way it disintegrates over the length of the space.
And, of course, the sheer size of the room – an empty room of that scale is
something you don’t generally encounter in New York. The window is the
architect’s revenge; the angles are a perfect perspective to the buildings
across the street, and it has a pictorial element, which make’s it almost impossible
to show a painting there. Most of the time they have to hide the window. The
window is a detail, but not a principal one. <o:p></o:p></div>
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Normally when you walk into the room you take a check—the
first responsibility of perception is to keep from being killed—so you check
coordinates, rapidly. But I did something at the Whitney that doesn’t stand
out, which was paint the wall opposite the window a shade that’s considerably
brighter than the other walls—if you were to turn a light on in the room at night, you’d see that it was about 65% gray. So when you come in, you know that
something’s not quite right, but only subliminally.<br />
<o:p></o:p></div>
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The situation was an opportunity to make a statement about
the idea of “conditional” —as well as how, and in what way, the conditional
acts in world.<br />
<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">What do you mean by
“conditional”?<o:p></o:p></b></div>
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Instead of being in the studio and conceiving things, the
artist isolated in the frame, the idea is that the perceiver can deal with the
world itself and make all kinds of value judgments, engage the cognitive self to
make decisions in the world. I was intrigued by the idea that rather than
creating a metaphor, an artist can function directly in the world….<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">…and eliminate the
“frame,” which includes wall text, labels—all the paraphernalia that designates
a thing as “art” and separates it from life. <o:p></o:p></b></div>
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Yes, in my very first show at MoMA, with Jenny Licht back in
1970, they put a label on the wall and I hired someone to come in and take it
off. <span style="color: black; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">So when you walked into the room you had to go through the process
of asking yourself<span style="mso-spacerun: yes;"> </span>“Is this thing
finished? Is it intended?”<o:p></o:p></span></div>
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It’s about using the same elements in the museum and the
outside world, making something, but not really making anything, just pointing
it out. If we take the history of modern art as a question, does “making” equal
“art”? Is it necessary to make something or can it be about operating in the world
as it is? I just took it one step farther.<span style="font-family: Times; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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The one thing that distinguishes each of my students from
the other is an individual sensibility; my job as a teacher is to help them
find that key element, and develop it. So I come to a situation and add to that
existing dialogue from what’s at the core of my being an artist. <o:p></o:p></div>
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I’m not a landscape designer, but made a <a href="http://www.getty.edu/visit/see_do/gardens.html">garden at the Getty</a>.
The same with the design of the <a href="http://www.diaart.org/sites/main/beacon">Dia:Beacon</a>. I am not an
architect.<o:p></o:p><br />
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<span style="font-size: xx-small;">Getty Garden. iPhone photograph. f/2.8. Copyright (c) <a href="http://randomsights.com/2011/10/26/getty-garden-2/">Joanne Mason</a> 2011.</span></div>
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<b style="mso-bidi-font-weight: normal;">I recently had a
conversation with an artist, and when I told him you designed the Dia:Beacon,
he said, “But there’s nothing there. He didn’t really do anything to it.” He
meant that your signature wasn’t on it. I thought you’d like that.<o:p></o:p></b></div>
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<br /></div>
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When I consider a space, I don’t have to bring to it other
kinds of abstract rationale.<o:p></o:p></div>
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The Dia doesn’t act as a piece of art. When architects
design museums, they are creating major pieces of sculpture. In the beginning,
they have pure intentions, but when it becomes big business, they start to act
as if they’re artists. It’s unethical to build a building that doesn’t function.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">So getting back to
the Whitney, it can’t be coincidence that the frame around the window matches
the bar and painted stripe. <o:p></o:p></b></div>
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No, of course not. The window is definitely an element in the vocabulary. And there are only a few others in that
space: the floor, the disintegration of light over the space, the ceiling. Of those the
disintegration of the light was probably the most appealing aspect for me. The light is a subject that goes through this amazing exercise before your eyes, which the scrim then multiplies...sometimes opaque, sometimes transparent.<br />
<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">It’s interesting that
your show coincided with <a href="http://www.guggenheim.org/new-york/exhibitions/on-view/james-turrell">Turrell’s
at the Guggenheim</a> – both involving space, light, iconic architecture….<o:p></o:p></b></div>
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But it’s not fair to compare Turrell’s current work with
something I did 35 years ago—35 years is a long time in a life. And when I did
it, it was like I threw a rock in a pond and there were no ripples. Now it’s a <i style="mso-bidi-font-style: normal;"><span style="background: white; color: black; mso-ascii-font-family: Cambria; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Cambria;">cause
célèbre</span></i><span style="background: white; color: black; mso-ascii-font-family: Cambria; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Cambria;">; it just took that amount of time to get back to
me. The same with a column I made in 1971, that's just now found a home in the <a href="http://www.clarkpacific.com/project/San-Diego-Federal-Courthouse">San Diego Federal Courthouse</a>.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="background: white; color: black; mso-ascii-font-family: Cambria; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Cambria;">I can understand why, though. At the exhibition I saw at
<a href="http://www.mcachicago.org/">Chicago’s MCA</a> in 1975, you did two pieces: the scrim wedge and one that was
simply—to my mind at the time—a black bar running around the floor. I was
hugely affected by the scrim piece, but it was too early in my life as an
artist for me to understand the other. Now I would get it in a flash. Maybe
people are just catching up.</span></b><br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVUGxW8_NIPtINdLcpnfd-62tNkyuMgXIKpj12JshNdS8GFSfnFwdBtWDY4tKiuCZYB3xfUK4Mewg95W56XIKLyRuKsFUk_r-ai15xd5vgb2r9Sdl7oCaf1e0lYV_25RNvTX6UwOAu-7Y/s1600/Irwin+MCA+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVUGxW8_NIPtINdLcpnfd-62tNkyuMgXIKpj12JshNdS8GFSfnFwdBtWDY4tKiuCZYB3xfUK4Mewg95W56XIKLyRuKsFUk_r-ai15xd5vgb2r9Sdl7oCaf1e0lYV_25RNvTX6UwOAu-7Y/s400/Irwin+MCA+.jpg" width="400" /></a></div>
<b style="mso-bidi-font-weight: normal;"><span style="background: white; color: black; font-size: xx-small; mso-ascii-font-family: Cambria; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Cambria;">Robert Irwin, Museum of Contemporary Art, Chicago, 1975.</span></b><br />
<b style="mso-bidi-font-weight: normal;"><span style="background: white; color: black; font-size: xx-small; mso-ascii-font-family: Cambria; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Cambria;"><br /></span></b>
Further reading: Carol Diehl, <i>"</i><a href="http://www.caroldiehl.com/WRITINGS/Writing_features/7.htm">Robert Irwin: Doors of Perception</a>," <i>Art in America, </i>December, 1999.<br />
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Carol Diehlhttp://www.blogger.com/profile/09023589628710711343noreply@blogger.com1tag:blogger.com,1999:blog-4865764596112100655.post-38518060831758533282013-08-26T17:00:00.000-04:002013-10-04T21:37:42.672-04:00A Dim View: Why Turrell at the Guggenheim Doesn’t Work<div class="separator" style="clear: both; text-align: center;">
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<i style="mso-bidi-font-style: normal;"><span style="color: #353535; mso-bidi-font-family: "Trebuchet MS"; mso-bidi-font-size: 18.0pt; mso-bidi-font-weight: bold;">Every hue throughout your work is
altered by every touch you add in other places</span></i><b><span style="color: #353535; mso-bidi-font-family: "Trebuchet MS"; mso-bidi-font-size: 18.0pt;">.</span></b><span style="color: #353535; mso-bidi-font-family: "Trebuchet MS"; mso-bidi-font-size: 13.0pt;"><o:p></o:p></span></div>
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<span style="color: #353535; mso-bidi-font-family: "Trebuchet MS"; mso-bidi-font-size: 13.0pt;">—John Ruskin<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Times; mso-bidi-font-size: 16.0pt;">The work promotes
a state of contemplation in a communal viewing space, rekindling the museum’s
founding identity as a “temple of spirit”</span></i><span style="mso-bidi-font-family: Times; mso-bidi-font-size: 16.0pt;">—Guggenheim Museum <a href="http://www.guggenheim.org/new-york/press-room/releases/5467-turrellrelease">press
release for James Turrell’s <i style="mso-bidi-font-style: normal;">Aten Reign</i></a>,
on view through September 25, 2013.</span><o:p></o:p></div>
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For the past several weeks I’ve been trying to make sense of
my profound underwhelm with <a href="http://en.wikipedia.org/wiki/James_Turrell">James
Turrell</a>’s otherwise much-touted light extravaganza at the <a href="http://www.guggenheim.org/">Guggenheim</a>. I love the Guggenheim; the
architecture makes any reason to go there a special event, and now one of my
most-admired artists has filled the atrium with a giant hollow cone of light
and color which, ovoid and tiered like a wedding cake, floats over a seating
area like a flying saucer. Gently diffused by the cone’s scrim-like fabric, LED
lights gradually shift from one gradated color to another, while muted natural
light filters in through the skylight. What’s not to like?<o:p></o:p></div>
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It should be right up my alley. Turrell’s permanent installation
at MoMA/PS1, <i style="mso-bidi-font-style: normal;"><a href="http://momaps1.org/exhibitions/view/170">Meeting</a> </i>(1986) is at the
top of my ten best list. In addition, I’ve spent a good part of my professional
life writing about <a href="http://www.caroldiehl.com/WRITINGS/Writing_features/7.htm">Robert Irwin</a>
and <a href="http://www.caroldiehl.com/WRITINGS/Writing_features/northernlights.htm">Olafur
Eliasson</a>, who work with perception and light in similar ways. I also have a
special affinity with Turrell because I, too, come from Quaker stock and have
been a practicing Quaker. Meditation and contemplation are important parts of
my life.<o:p></o:p></div>
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However, seated in the atrium at the press preview, instead
of going into rapture, I began thinking about Eliasson’s circular <i style="mso-bidi-font-style: normal;">360</i><i><span style="color: #535353; font-family: "Helvetica Neue"; font-size: 13.0pt; mso-bidi-font-family: "Helvetica Neue";">°</span></i><i style="mso-bidi-font-style: normal;">Room(</i>s) <i style="mso-bidi-font-style: normal;">for all Colors</i> of similarly changing hues. There visitors are
highlighted participants, lit like fashion models against a seamless
background, where here they appeared to have little relationship with the piece
that hovered above them.<span style="mso-spacerun: yes;"> </span>I also thought
about how, in those Eliasson pieces, you can walk right up to the “wall,” which
seems to have no substance but that of color, and practically put your nose in
it—while the entire experience Turrell has created at the Guggenheim is “up
there.” Not significantly related to the scale of my body, it felt separate
from me, which meant I didn’t have the desired heightened awareness of my place
in it—I was not, to employ the overused phrase, “seeing myself seeing”—any more
than I would at a fireworks display. In every work of art the “here” and
“there” are important aspects; to be fully satisfying, I want even a painting
to tell me something up close as well as from a distance. In an installation,
it’s even more important, because if my situation as a visitor isn’t fully
developed, I don’t feel a connection with whatever else is going on.<o:p></o:p></div>
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<span style="font-size: xx-small;"><span style="color: #535353; font-family: 'Helvetica Neue';">Olafur Eliasson. </span><i style="color: #535353; font-family: 'Helvetica Neue';">360°
room for all colours.</i><span style="color: #535353; font-family: 'Helvetica Neue';"> 2002. Stainless steel, projection foil, fluorescent
lights, wood, and control unit, 126 x 321 x 321" (320 x 815.3 x 815.3 cm).
Private collection. Installation view at Musée d'Art moderne de la Ville de
Paris. Courtesy Tanya Bonakdar Gallery, New York. © 2008 Olafur Eliasson</span></span></div>
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The most important aspect, however, of “seeing ourselves
seeing” is that our perception is challenged to the point that we no longer
trust our normal visual clues. This produces a particular state of
self-consciousness that merges with the work—and at this, Turrell has been a
master. In his Skyscapes, like the one at PS1, the sky becomes a “thing” you
feel you could almost touch, with the result that you find yourself
simultaneously questioning it and yourself. And looking at one of his early,
simple corner light projections, your brain processes it as a cube with actual
mass, even though you know it isn’t.<span style="mso-spacerun: yes;">
</span>Nothing like that happens at the Guggenheim; while it’s beautiful, even
stunning, there’s no mystery. What you see is what you get—an indication that
the line between art and lighting design (which has become extremely
sophisticated through the influence of artists) is now very, very thin.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj8kx-qHmRcGUvuSCN1TwbQ9-lTmsc5sM5l1R7vgcdidDCnG9ZTZXNTdaAFddhF6c0fa_tBPyMUSaBJkqFuKLK_MNdWsqLG3tlQijlahCOaEwoQy5cOfkKi-bsG7AgB9MbMlrijALJt5g/s1600/Turrell+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj8kx-qHmRcGUvuSCN1TwbQ9-lTmsc5sM5l1R7vgcdidDCnG9ZTZXNTdaAFddhF6c0fa_tBPyMUSaBJkqFuKLK_MNdWsqLG3tlQijlahCOaEwoQy5cOfkKi-bsG7AgB9MbMlrijALJt5g/s400/Turrell+.jpg" width="400" /></a></div>
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<span style="font-size: xx-small;">James Turrell, <i>Meeting</i>
(1986) MoMA/PS1. Photo: Carol Diehl, 2011</span></div>
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<span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Georgia; mso-hansi-font-family: Cambria;">“He’s an orchestrator of experience,”
<a href="http://en.wikipedia.org/wiki/Chuck_Close">Chuck Close</a> has </span><a href="http://www.nytimes.com/2013/06/16/magazine/how-james-turrell-knocked-the-art-world-off-its-feet.html?pagewanted=all%20http://www.nytimes.com/2013/06/16/magazine/how-james-turrell-knocked-the-art-world-off-its-feet.html?pagewanted=all"><span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Georgia; mso-hansi-font-family: Cambria;">said</span></a><span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Georgia; mso-hansi-font-family: Cambria;"> of Turrell—but what makes up that
experience? Where does it start and stop? Does it begin when you hear about it
from a friend, or read a review? Those are things the artist can’t control, but
he <i style="mso-bidi-font-style: normal;">can</i> influence what happens from
the minute you walk through the door. <o:p></o:p></span></div>
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<span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Georgia; mso-hansi-font-family: Cambria;">And what’s that like? My friend, David, a
hospital administrator who made the mistake of visiting the Guggenheim with his
out-of-town family on a weekend, described it as…“Horrible. Like Disneyland. There were 4-5 lines squeezed into the walled-off lobby, and you’re trying to get in line and bumping into
everyone…and once you get your ticket and come into the atrium you’re trying to look
up but can’t because there are so many people. It was pretty, but hardly
transcendent. The architecture was all covered
up and you could have been anywhere. And then, still bumping into people, you
walked up the walled-off ramp, which felt like a missed [artistic] opportunity,
to stand in more lines. Not that we were looking to be entertained, but we were
looking for $20 worth of something.”<o:p></o:p></span></div>
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<span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Georgia; mso-hansi-font-family: Cambria;">Another friend said the guards were
ordering people around, telling them to get off the floor if they tried to lay
on it….”It’s not their fault,” he said, “They were only doing their job, but it
could have been managed better.”<o:p></o:p></span></div>
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<span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Georgia; mso-hansi-font-family: Cambria;">So how much of that has to do with
Turrell? I think it all does.<o:p></o:p></span></div>
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<span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Georgia; mso-hansi-font-family: Cambria;">Much to the annoyance of painting
students when I refuse to overlook a warped stretcher (the perpetual question
being, “Is this intentional?”), I have always contended that <i style="mso-bidi-font-style: normal;">everything</i> that falls into my experience
is part of the piece—a view that has fueled my no-doubt tedious bloggy
diatribes against artists’ statements, wall text, audio tours, black-out
curtains, headphones, etc.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Georgia; mso-hansi-font-family: Cambria;">I was irritated when, a few years ago, I
found that entrance to a Turrell installation, required shedding my shoes and
donning floppy Tyvek protective booties. While surely an over-reaction on the
part of one who’s invested too much in her fashion statement, I interpreted
this as a power play on the part of the artist (“Really? Part of your piece is
to make me look ridiculous?”). <o:p></o:p></span></div>
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<span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Georgia; mso-hansi-font-family: Cambria;">So yes, in my book, the queues, crowd
control, and the need for crowd control are all part of it.<span style="mso-spacerun: yes;"> </span>This is, after all, the same museum that, in
2010, featured relational aesthetics guru, </span><a href="http://www.guggenheim.org/new-york/exhibitions/past/exhibit/3305"><span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Georgia; mso-hansi-font-family: Cambria;">Tino Seghal</span></a><span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Georgia; mso-hansi-font-family: Cambria;">, whose piece
involved engaging visitors in conversation. After that and many similar, such
as Martha Rosler’s garage sale<i style="mso-bidi-font-style: normal;"> </i>and </span><span style="mso-bidi-font-family: Georgia;">Marina</span><span style="color: #0e0e0e; mso-bidi-font-family: Times; mso-bidi-font-size: 16.0pt;"> Abramović</span><span style="mso-bidi-font-family: Georgia;">’s</span><span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Georgia; mso-hansi-font-family: Cambria;"> <i style="mso-bidi-font-style: normal;">The Artist is Present</i>, both recently at
MoMA, it would be arbitrary to insist that personal interactions are
significant in one circumstance, but not in another. <o:p></o:p></span></div>
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<span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Georgia; mso-hansi-font-family: Cambria;">Eliasson (who was largely inspired by
Robert Irwin, also my biggest influence, and now both have shaped my thinking)
was aware of this responsibility on the part of the artist back in 2003, when
he configured his monumental </span><a href="http://www.tate.org.uk/whats-on/exhibition/unilever-series-olafur-eliasson-weather-project"><i style="mso-bidi-font-style: normal;"><span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Georgia; mso-hansi-font-family: Cambria;">weather project</span></i></a><i style="mso-bidi-font-style: normal;"><span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Georgia; mso-hansi-font-family: Cambria;"> </span></i><span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Georgia; mso-hansi-font-family: Cambria;">at the Tate Modern. Approaching the institution as a whole, part of
his preparation involved talking to members of each of the museum’s departments
to discuss how their roles would impact his project.</span><o:p></o:p></div>
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<o:p> <span style="font-size: xx-small;">Olafur Eliasson, <i><a href="http://www.tate.org.uk/whats-on/exhibition/unilever-series-olafur-eliasson-weather-project/olafur-eliasson-weather-project">weather project</a> </i>(2003), Tate Modern</span></o:p></div>
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Eliasson also configured something that could handle the
crowds it brought—which raises a related question: what is the artist’s
accountability to the social situation his work is creating and/or occupying?
For defenders of Richard Serra’s threatening <a href="http://en.wikipedia.org/wiki/Tilted_Arc"><i style="mso-bidi-font-style: normal;">Tilted Arc</i></a>,<i style="mso-bidi-font-style: normal;"> </i>which
after much controversy, was ultimately removed from a busy office plaza, the
answer was “None.” But much has gone on since 1989, with artists now more aware
of, and willing to embrace, the public nature of their work. <span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: Georgia; mso-hansi-font-family: Cambria;">If relational aesthetics has had a positive impact, it has been to
highlight the artist’s role in configuring the entire art experience.<o:p></o:p></span></div>
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<span style="font-size: xx-small; mso-ascii-font-family: Cambria; mso-bidi-font-family: Georgia; mso-hansi-font-family: Cambria;"><span id="goog_84865963"></span><span id="goog_84865964"></span>Richard Serra, <i>Tilted Arc </i>(1981)</span></div>
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All of this casts doubt on the decision to turn Frank Lloyd
Wright’s soaring masterpiece into a confined area that requires limited
entrance—and attempt to create a relatively intimate space in a public
institution whose most basic function is to accommodate large numbers of
people. Another power play perhaps? <o:p></o:p></div>
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I like to think of “generosity” in terms of public sculpture/installation,
as a measure of the number of ways a work may fulfill the artist’s intention to
successfully affect his audience. For example, few works are more “generous”
than <a href="http://en.wikipedia.org/wiki/Anish_Kapoor">Anish Kapoor</a>’s <i style="mso-bidi-font-style: normal;"><a href="http://en.wikipedia.org/wiki/Cloud_Gate">Cloud Gate</a> </i>in Chicago’s <a href="http://www.cityofchicago.org/city/en/depts/dca/supp_info/millennium_park.html">Millennium
Park</a>. Installed in 2006 and nicknamed “The Bean” for its shape, this giant
organic structure of highly polished stainless steel is engaging day and night, from afar, up
close, and even underneath, involves light, reflection, and movement, and is as
affective in the presence of crowds as it would be in solitude.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVo0763JEc-T6t-xY31lTCaqe_LJpV3651h-6Hjh5laKTJa3iD5uiYDnFPx_j4oZ6HPhOq79fvUE8mvLcFes3sjC94n0yn4Hmy38QiyRvtw91pVMH94zELdaFAWv_w-sjF24WTPclP6Hw/s1600/cloud_gate1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVo0763JEc-T6t-xY31lTCaqe_LJpV3651h-6Hjh5laKTJa3iD5uiYDnFPx_j4oZ6HPhOq79fvUE8mvLcFes3sjC94n0yn4Hmy38QiyRvtw91pVMH94zELdaFAWv_w-sjF24WTPclP6Hw/s400/cloud_gate1.jpg" width="400" /></a></div>
<span style="font-size: xx-small;">Anish Kapoor, <i>Cloud Gate</i> (2003-6), Chicago.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsQpWuJdJ7lEzEGQB1DySufoMNewmfuQiIImDFxK0TBn0r2MVIL8wd6Jmd6aBss5VGC_mCUrPu8G_e3-lAV6fYzxtCK0xD9M7pKA6g9IJURsjvMGCS24bP62GKgIuOkBxDKURHAlYlyB8/s1600/IMG_2336.MOV" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsQpWuJdJ7lEzEGQB1DySufoMNewmfuQiIImDFxK0TBn0r2MVIL8wd6Jmd6aBss5VGC_mCUrPu8G_e3-lAV6fYzxtCK0xD9M7pKA6g9IJURsjvMGCS24bP62GKgIuOkBxDKURHAlYlyB8/s400/IMG_2336.MOV" width="400" /></a></div>
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<span style="font-size: xx-small;">Anish Kapoor, </span><i style="font-size: x-small;">Cloud Gate</i><span style="font-size: xx-small;"> (2003-6), video: Carol Diehl (2012).</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgr8lapDmf1T0Zevjp8t4-0RT1Cqy9k4lVvhiNASLnd5mmLZ1JflDL8a0pn9l2g2dRq-DWBF5svjKLGz3uFfS8fZ1ZHLkooteRDHSGcK6Kp7g4OFim2owmHaZe_tuqCqk2KovkrLnT27k/s1600/IMG_2339.MOV" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgr8lapDmf1T0Zevjp8t4-0RT1Cqy9k4lVvhiNASLnd5mmLZ1JflDL8a0pn9l2g2dRq-DWBF5svjKLGz3uFfS8fZ1ZHLkooteRDHSGcK6Kp7g4OFim2owmHaZe_tuqCqk2KovkrLnT27k/s400/IMG_2339.MOV" width="225" /></a></div>
<span style="font-size: xx-small;">Anish Kapoor, <i>Cloud Gate </i>(2003-6) View from underneath. Video: Carol Diehl (2012).</span><br />
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This is not to say that art has to be popular or even
pleasing, but that it fulfills its purpose on every level. Therefore, if the
intention of a piece was about the frustration of <i style="mso-bidi-font-style: normal;">not</i> being able to see it, say, then the question of its success
would be, was everyone sufficiently frustrated?<br />
<br />
Frustration and contemplation,
however, do not go together.<o:p></o:p></div>
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Meanwhile, the frustration at the Guggenheim continues even
after one leaves the atrium and attempts to see Turrell’s earlier works by
joining the crowds to ascend the museum’s curving ramps, now claustrophobic
tunnels with “walls” of opaque white fabric that block any view of the atrium.
As students know, one of the first questions one asks when evaluating any
sculpture is, does it perform equally well from all sides, or does it have a
“dead zone?” This is something sculptors like <a href="http://en.wikipedia.org/wiki/Mark_di_Suvero">Mark de Suvero</a> and <a href="http://en.wikipedia.org/wiki/Richard_Serra">Richard Serra</a> have
obviously given a lot of thought to—as did the ancient Greeks. And especially now
that sculpture engages the scale and dynamics of architecture, just as with personal interactions, it seems arbitrary to insist that we shouldn’t
take the outside of Turrell’s cone into consideration as an integral part of the piece—it was, as my
friend, David, put it, a “missed opportunity.”<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNY4qGTbn7JC_gqsS6i7dlB-1PMCLuKa3n7Dyh6xpfCGuZTjteQeYvzzdgHcb5t-ZfUr7BYj8xCz-srcsm69KpL2yieloRyW2BivomxFUvUoSBSxpfHacDAR3P1deTZG9n6S3GofFTTfU/s1600/Greek+butt.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNY4qGTbn7JC_gqsS6i7dlB-1PMCLuKa3n7Dyh6xpfCGuZTjteQeYvzzdgHcb5t-ZfUr7BYj8xCz-srcsm69KpL2yieloRyW2BivomxFUvUoSBSxpfHacDAR3P1deTZG9n6S3GofFTTfU/s320/Greek+butt.jpg" width="176" /></a></div>
<span style="font-size: xx-small;">Unattributed, possibly a Roman copy from the Greek</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhByJkAh_zhdolXEsGIKt7KY4SC8w3R2O9_PXH1lj-VbPx8_vySajjeqmsQnKgE0_BRIgXp60assh4EXY6mWe95Cw62vLlhA6bD7VeJnOKpk4tUeocyz6UQ1hqDUkFy0PGNTIeEL6ZLmb0/s1600/TurrScrim.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhByJkAh_zhdolXEsGIKt7KY4SC8w3R2O9_PXH1lj-VbPx8_vySajjeqmsQnKgE0_BRIgXp60assh4EXY6mWe95Cw62vLlhA6bD7VeJnOKpk4tUeocyz6UQ1hqDUkFy0PGNTIeEL6ZLmb0/s320/TurrScrim.jpg" width="240" /></a></div>
<span style="font-size: xx-small; text-align: center;">Opaque white scrim along ramps, blocking views across the rotunda</span></div>
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<span style="font-size: xx-small;">
Photo by <a href="http://www.artsjournal.com/culturegrrl/2013/06/guggenheims-aten-reign-turrells-skyspace-obscures-the-sky.html">Lee Rosenbaum</a></span></div>
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<b><i><br /></i></b></div>
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The ultimate frustration, however (or power play….?), has to
do with Turrell’s decision to spend untold thousands of dollars (the museum
won’t reveal how much) to build a complex apparatus that allows him to
completely shroud the building’s distinctive architectural assets in fabric.
Why, one wonders, would an artist want to make it something it isn’t, when the
thing it is offers so much? Surely most artists would leap at the opportunity
to “collaborate,” in a sense, with Frank Lloyd Wright as <a href="http://en.wikipedia.org/wiki/Jenny_Holzer">Jenny Holzer</a> has done so
successfully—on the <a href="http://www.guggenheim.org/new-york/exhibitions/past/exhibit/2522">outside</a>
of the building, with projections (2008), as well as the <a href="http://www.guggenheim.org/new-york/collections/collection-online/artwork/22064">inside</a>,
where her electronic LED signboards ringed and activated the atrium’s spiraling
balcony (1989). In both cases, with a minimum of intervention, Holzer
incorporated the building into her own artistic statement without
compromising—and even enhancing—its grandeur. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhyphenhyphen4z2IoEZP1PpO2OF7VPVA96Xx1mKyUbV04djnK_Hb6o9soqawjCFtFgHcjR3Plartt6A5ikrR0u84IZ5FXn0nZcuZLw3Pv8So5_vw0k4Cm_JtZ7SKuzdkSaB6XSFqaX2yj8ozERLq2M/s1600/Holzer+inside.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhyphenhyphen4z2IoEZP1PpO2OF7VPVA96Xx1mKyUbV04djnK_Hb6o9soqawjCFtFgHcjR3Plartt6A5ikrR0u84IZ5FXn0nZcuZLw3Pv8So5_vw0k4Cm_JtZ7SKuzdkSaB6XSFqaX2yj8ozERLq2M/s400/Holzer+inside.jpg" width="400" /></a></div>
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<span style="font-size: xx-small;"><span class="artist"><span style="color: black; font-family: Verdana; font-size: 9.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><br /></span></span></span>
<span style="font-size: xx-small;"><span class="artist"><span style="color: black; font-family: Verdana; font-size: 9.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Jenny Holzer</span></span><span style="color: black; font-family: Verdana; font-size: 9.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><span class="artwork-title"><a href="http://www.guggenheim.org/new-york/collections/collection-online/artwork/22064"><span style="color: grey;">Untitled (Selections from Truisms, Inflammatory Essays, The
Living Series, The Survival Series, Under a Rock, Laments, and Child Text)</span></a></span>,<span class="apple-converted-space"> </span><span class="artwork-date">1989<o:p></o:p></span></span></span></div>
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<i><span style="color: black; font-family: Verdana; font-size: 7.0pt; mso-bidi-font-family: "Times New Roman";"><iframe allowfullscreen="" frameborder="0" height="433" src="http://blip.tv/play/gjDVjiAC.x?p=1" width="720"></iframe></span></i></div>
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<span style="font-size: xx-small;"><span style="color: black; font-family: Verdana; font-size: 7.0pt; mso-bidi-font-family: "Times New Roman";">Jenny Holzer<i>:For the Guggenheim</i></span><span style="color: black; font-family: Verdana; font-size: 7.0pt; mso-bidi-font-family: "Times New Roman";">, 2008. Light projection. Guggenheim Museum, New York. <b>(The irony of a Holzer piece being preceded by an ad for the US Navy should not be lost).</b></span></span><br />
<span style="color: black; font-family: Verdana; font-size: 7.0pt; mso-bidi-font-family: "Times New Roman";"><br /></span></div>
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As if for comparison, at the <a href="http://whitney.org/">Whitney</a>
just a few blocks away, Turrell’s former compatriot, <a href="http://en.wikipedia.org/wiki/Robert_Irwin_(artist)">Robert Irwin</a>, has
re-installed a <a href="http://whitney.org/Exhibitions/RobertIrwin">work from 1977</a> that also involves light, perception, and iconic
architecture. But where Turrell merely riffs on Wright’s motif, Irwin goes
one-on-one with <a href="http://en.wikipedia.org/wiki/Marcel_Breuer">Marcel
Breuer</a>’s <a href="http://en.wikipedia.org/wiki/Brutalist_architecture">Brutalist</a>
geometry. Appearing to take the architect’s inimical trapezoidal window as his
starting point, Irwin has devised a situation where that jagged opening finally
makes sense.<br />
<br />
Getting off the elevator you’re presented with a vast room, empty
and dim. Illuminated only by the window’s natural light, it’s like being in a
black and white photograph.<span style="mso-spacerun: yes;"> </span>Facing the
elevators and horizontally bisecting the room end to end, is a three-inch thick
metal black metal bar, five and a half feet from the floor, above which
fog-like translucent scrim is stretched to the ceiling. The only other added
element is a painted black stripe, the same height and thickness as the bar and matching the window’s black frame, which continues the motif around the gallery walls.
You step forward, but your usual depth perception no longer serves. <span style="mso-spacerun: yes;"> </span>You see the bar in front of you and the stripe
on the opposite wall…or maybe the stripe is in front? You cautiously advance toward
it, not knowing whether to duck or not, and the whole room becomes activated;
it’s hard to tell what’s real and what isn’t, what has substance and what
doesn’t. Meanwhile the gridded ceiling, stony cement walls, and dark, uneven
stone floor—aspects of the gallery that used to fade into the background—take
on new prominence, as if they belong equally to artist and architect.<br />
<o:p></o:p></div>
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<div class="MsoNormal">
While the museum told me the Irwin was laborious to install
and probably as expensive to mount as any exhibition, compared with Turrell’s
pyrotechnics, it appears effortless and economical.<span style="mso-spacerun: yes;"> </span>Of course, now that I think about it,
devising a way to make a fairly thin rod stretch 117 feet would be challenging,
but while I was there, how it was achieved never crossed my mind. With a
graceful efficiency of means that was absent in the Turrell, it seemed as
simple as a drawing. <o:p></o:p><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD_GS3kRXWiwTmvqGaLlxiu9sD8MYahCWEmBFLn_EVHubpepiIAAk1c85DMofdbYr7y00m0by7mHkdKSH8AoNUOIvTpL6u0f4rLFanInZfebh4Wo9CQnQPJPxMuuV_iR1krnLsjAd3Tzc/s1600/photo.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD_GS3kRXWiwTmvqGaLlxiu9sD8MYahCWEmBFLn_EVHubpepiIAAk1c85DMofdbYr7y00m0by7mHkdKSH8AoNUOIvTpL6u0f4rLFanInZfebh4Wo9CQnQPJPxMuuV_iR1krnLsjAd3Tzc/s400/photo.JPG" width="400" /></a></div>
<div class="p1">
<span class="s1"><span style="font-size: xx-small;">ROBERT IRWIN: SCRIM VEIL—BLACK RECTANGLE—NATURAL LIGHT, WHITNEY MUSEUM OF AMERICAN ART, NEW YORK (1977)</span></span></div>
<span style="font-size: xx-small;">JUNE 27–SEPT 1, 2013 Photo: Carol Diehl 2013</span><br />
<span style="font-size: xx-small;"><br /></span>
<span style="font-size: large;">PART II <a href="http://artvent.blogspot.com/2013/09/robert-irwin-on-scrim-veil-black.html">Robert Irwin on "Scrim Veil-Black Rectangle-Natural Light (1977)" recently at the Whitney</a></span><br />
<span style="font-size: xx-small;"><br /></span>Further reading:<br />
<br />
Roberta Smith on Turrell "<a href="http://www.nytimes.com/2013/06/21/arts/design/james-turrell-plays-with-color-at-the-guggenheim.html?ref=jamesturrell&_r=0">New Light Fixture for Famous Rotunda</a>" and Irwin "<a href="http://www.nytimes.com/2013/07/26/arts/design/robert-irwins-light-and-space-work-returns-to-the-whitney.html?pagewanted=all">Ineffable Emptiness: From Dawn to Dusk</a>"<br />
<br />
Gabrielle Selz "<a href="http://www.huffingtonpost.com/gabrielle-selz/the-converging-diverging-_b_3531212.html">Considering Perception: Robert Irwin and James Turrell</a>": a look at their shared history.<br />
<br />
Lee Rosenbaum: "<a href="http://www.artsjournal.com/culturegrrl/2013/06/guggenheims-aten-reign-turrells-skyspace-obscures-the-sky.html">Turrell's Skyspace Obscures the Sky</a>"<br />
<br />
Blake Gopnik: "<a href="http://www.thedailybeast.com/articles/2013/06/21/james-turrell-at-the-guggenheim-is-the-daily-pic-by-blake-gopnik.html">Has the Sage Turrell Sold Out?</a>"<br />
<br /></div>
Carol Diehlhttp://www.blogger.com/profile/09023589628710711343noreply@blogger.com5tag:blogger.com,1999:blog-4865764596112100655.post-85855913466455483292013-07-27T10:39:00.002-04:002013-07-30T17:07:57.169-04:00Almost over: Paul McCarthy at the Park Avenue Armory<div class="MsoNormal">
I just got an email from the <a href="http://www.armoryonpark.org/">Park Avenue Armory</a> that <a href="http://www.armoryonpark.org/programs_events/detail/paul_mccarthy_WS">Paul
McCarthy’s installation</a> is over August 4<sup>th</sup>. And not a moment too
soon!<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Debauchery seems so old fashioned, so last century, that McCarthy’s
attempt to shove it down our throats (haha) with this massive installation
seems almost quaint. There was a time when it might have been helpful to
goose us (there I go again) out of our inhibitions, but we were liberated
decades ago. We had the 60s, 70s, and 80s, “<a href="http://en.wikipedia.org/wiki/Satyricon_(film)">Satyricon</a>,” “<a href="http://en.wikipedia.org/wiki/Last_Tango_in_Paris">Last Tango</a>,” “<a href="http://en.wikipedia.org/wiki/Eyes_Wide_Shut">Eyes Wide Shut</a>” and that
Japanese film where the guy cuts off his penis—not to speak of <a href="http://en.wikipedia.org/wiki/Seedbed_(performance_piece)">Acconci
masturbating</a> under a platform and <a href="http://en.wikipedia.org/wiki/Robert_Mapplethorpe">Mapplethorpe</a>, whose
S&M photos are now classics.<span style="mso-spacerun: yes;"> </span>With
the exception of the <i style="mso-bidi-font-style: normal;"><a href="http://www.nypost.com/p/news/opinion/opedcolumnists/debauchery_you_pay_for_Mcft8NAjiGRbSlSHJIX0aJ">New
York Post</a> </i>and a few mouthpieces on the Christian Right we are, as a
culture, un-shockable—and even those starched shirts are probably not <i style="mso-bidi-font-style: normal;">really</i> shocked, but simply using it as another weapon in their
power play. In an era where Internet porn of every flavor is available 24/7, we
need more debauchery like we need another film about cars blowing up.<br />
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifA8nHm0O27zOk_dxigb2eSVIJ5KRAfAlEeMJgMEW-xMChUPFwaIqL94CQQHlQUmC_02DoJYHHBioQ9U7j6HKurXt2xGJpX8ul4xJo9dJVDq1J3Nf7c6dbfUiSVFIW65nm860eJO-MvoE/s1600/mapplethorn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifA8nHm0O27zOk_dxigb2eSVIJ5KRAfAlEeMJgMEW-xMChUPFwaIqL94CQQHlQUmC_02DoJYHHBioQ9U7j6HKurXt2xGJpX8ul4xJo9dJVDq1J3Nf7c6dbfUiSVFIW65nm860eJO-MvoE/s400/mapplethorn.jpg" width="400" /></a></div>
<div class="MsoNormal">
<b><span style="font-size: xx-small;">Robert Mapplethorpe, </span></b><span style="font-size: xx-small;"><b><i>Untitled</i>, c. 1973 © Robert Mapplethorpe Foundation. Used by permission.</b></span><br />
<span style="font-size: xx-small;"><b><br /></b></span>
</div>
<div class="MsoNormal">
Further, it’s easy to be depraved—just as it’s easier to be
sloppy than scrupulous, disgusting than poetic. The irony is that McCarthy,
whose work is a reaction to super-scrubbed, sexually-repressed Disney
productions, is not more artful than his stimulus. Like Disney, he insists on controlling the
entire experience, leaving no room for the imagination. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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Compare McCarthy’s heavy-handed interpretation with <a href="http://www.judyfox.net/">Judy Fox</a>’s
<i style="mso-bidi-font-style: normal;"><a href="http://www.artnet.com/magazineus/features/kuspit/kuspit11-21-07.asp">Snow
White</a> </i>(2007), whose simple representation of a adolescent girl in all of her nakedness and vulnerability is actually more disturbing.<o:p></o:p><br />
<br /></div>
<div class="MsoNormal">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFP8B2OX-d8Dw5pPhj22c-v75e6XY6BleDU8mnxTN-T4u87OV_EClkpjt42N0-DPVslC5XqHlGZO2igN1f1a3K5GR8zGSVa5y9MsgJzDg6lsJ5Zq9vxfHAB0mQj_8utpklFe0VekcM2T8/s1600/judy+fox+snow+white.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="332" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFP8B2OX-d8Dw5pPhj22c-v75e6XY6BleDU8mnxTN-T4u87OV_EClkpjt42N0-DPVslC5XqHlGZO2igN1f1a3K5GR8zGSVa5y9MsgJzDg6lsJ5Zq9vxfHAB0mQj_8utpklFe0VekcM2T8/s640/judy+fox+snow+white.jpg" width="640" /></a></div>
<b><span style="font-family: Times; font-size: xx-small; mso-bidi-font-family: Times;">Judy Fox, <i>Snow
White</i>, 2007, terra cotta, casein, 8.5 x 58 x 25 inches</span></b></div>
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<o:p></o:p></div>
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<br /></div>
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Not to speak of her dwarfs--here <i style="mso-bidi-font-style: normal;">Sloth
</i>(2007), not a character you'd like to find yourself in a dark corner with:<o:p></o:p><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfdL0NRS4i1AU34BbSkD_Cijeg-LwfgrC-RAsO3ZeDlhSt8gcgsatopBTKzM4R1zwvhRWzgoqxb6FqtEoUUEDvYrCESDxm0A4NiRkFwwml5x0G-vlEqSEIJ8_9SxZK8QbBtHeOURLHyKk/s1600/kuspit11-21-07-6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfdL0NRS4i1AU34BbSkD_Cijeg-LwfgrC-RAsO3ZeDlhSt8gcgsatopBTKzM4R1zwvhRWzgoqxb6FqtEoUUEDvYrCESDxm0A4NiRkFwwml5x0G-vlEqSEIJ8_9SxZK8QbBtHeOURLHyKk/s400/kuspit11-21-07-6.jpg" width="262" /></a></div>
<b><span style="font-family: Times; font-size: xx-small; mso-bidi-font-family: Times;">Judy Fox, <i>Sloth</i>
2007 terra cotta and casein, 21 x 16 x 16.5 inches</span></b></div>
<div class="MsoNormal">
<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
I was thinking that the most responsive audience for
McCarthy’s piece would be the seventh-grade boys who won’t be allowed in, which
led me to wonder what would happen if you got a bunch of those boys, gave them
an unlimited budget, and told them to be as gross as they wanted. Now <i style="mso-bidi-font-style: normal;">that</i> might be interesting. It might even
be funny.<o:p></o:p></div>
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<br />
*****</div>
</div>
<div class="MsoNormal">
Jerry Saltz on the McCarthy exhibition <a href="http://www.vulture.com/2013/06/saltz-on-paul-mccarthys-very-very-dirty-show.html">here.</a></div>
<div class="MsoNormal">
<o:p></o:p></div>
Carol Diehlhttp://www.blogger.com/profile/09023589628710711343noreply@blogger.com2tag:blogger.com,1999:blog-4865764596112100655.post-79676035850170150232013-07-13T13:05:00.000-04:002013-07-13T16:02:38.724-04:00Gerhard Richter: Tapestries<div class="MsoNormal">
For the first time in almost ever, I took a couple of months
off from writing….anything. I was tired of having ideas, tired of the urgency
to express them, wanted to concentrate on making art, not thinking about it.
Well I found it didn’t pay—just like avoiding the gym doesn’t pay—because now
what I’m left with is mental flab and a limp writing muscle. A paragraph that
just a few months ago would take five minutes to write, now takes an entire
morning—with myriad breaks for coffee and food. Therefore, like not exercising, not writing can be fattening—especially in England, where I am until tomorrow, and where
everything goes better with double cream.<br />
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Also I hadn’t seen any art that knocked my socks off.
The <a href="http://www.armoryonpark.org/programs_events/detail/paul_mccarthy_WS">Paul
McCarthy show at the Armory</a> put me in <i style="mso-bidi-font-style: normal;">such
</i>a bad mood, and even the <a href="http://www.guggenheim.org/new-york/exhibitions/on-view/james-turrell">Turrell
installation at the Guggenheim</a>, which I wanted to like in the worst way
(more about that in another post), left me cold. I fled to Paris, anticipating “<a href="http://www.grandpalais.fr/en/event/dynamo">Dynamo</a><span class="MsoHyperlink">,</span>” an exhibition of sound and motion at the <a href="http://www.grandpalais.fr/en">Grand Palais</a>, but it was the white
cheese and passion fruit dessert in the museum café that really turned me on.
Sometimes I think I’ve chosen the wrong field.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
However if anyone can pull me out of a torpor, it’s <a href="http://www.gerhard-richter.com/">Gerhard Richter</a>. Usually there’s a
lot on in the London summer season, but this year the only thing I really
wanted to see was the <a href="http://www.gagosian.com/exhibitions/gerhard-richter--may-30-2013">exhibition</a>
(up through July 27) at <a href="http://www.gagosian.com/">Gagosian</a> on
Davies Street of four Richter tapestries from 2009—which, as it turned out,
could be his most magnificent work ever.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The tapestries are based on a single scraped painting: <em><span style="color: black; font-family: Cambria; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Grande"; mso-hansi-theme-font: minor-latin;">Abstract Painting (724-4)</span></em><span class="apple-converted-space"><span style="color: black; mso-bidi-font-family: "Lucida Grande";"> </span></span><span style="color: black; mso-bidi-font-family: "Lucida Grande";">(1990). This is the same one he mined for his book, <i style="mso-bidi-font-style: normal;">Patterns: Divided, Mirrored, Repeated</i>
(2012), from which he generated the the large-scale digital </span><a href="http://www.mariangoodman.com/exhibitions/2012-09-12_gerhard-richter/"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: "Lucida Grande";">Strip
Paintings</span></i></a><i style="mso-bidi-font-style: normal;"><span style="color: black; mso-bidi-font-family: "Lucida Grande";">, </span></i><span style="color: black; mso-bidi-font-family: "Lucida Grande";">shown at </span><a href="http://www.mariangoodman.com/"><span style="mso-bidi-font-family: "Lucida Grande";">Marian
Goodman</span></a><span style="color: black; mso-bidi-font-family: "Lucida Grande";">
last season, which I </span><a href="http://www.artinamericamagazine.com/reviews/gerhard-richter-1/"><span style="mso-bidi-font-family: "Lucida Grande";">reviewed</span></a><span style="color: black; mso-bidi-font-family: "Lucida Grande";"> for </span><a href="http://www.artinamericamagazine.com/"><span style="mso-bidi-font-family: "Lucida Grande";">Art in America</span></a><span style="color: black; mso-bidi-font-family: "Lucida Grande";">. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiekJ6lVeL5rSb2j67og7mCb-xzXomiZmy-8RkmSa6M89nboxw7bmZmlEVyIjBHu94eM8QuzptB7XFT-82MNYqUxuRznq_erNpw7FRqQE9bUR1MBKzj0syFajiCxUHureMk_zI3_l48lT8/s1600/Abstract-Painting-724-4-richter.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiekJ6lVeL5rSb2j67og7mCb-xzXomiZmy-8RkmSa6M89nboxw7bmZmlEVyIjBHu94eM8QuzptB7XFT-82MNYqUxuRznq_erNpw7FRqQE9bUR1MBKzj0syFajiCxUHureMk_zI3_l48lT8/s400/Abstract-Painting-724-4-richter.jpeg" width="400" /></a></div>
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<span style="font-size: xx-small;"><b><span style="color: black; mso-bidi-font-family: "Lucida Grande";">Gerhard Richer, </span><em><span style="font-family: Cambria;">Abstract Painting (724-4)</span></em><span class="apple-converted-space"> </span>(1990)</b></span></div>
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<br /></div>
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<span style="color: black; mso-bidi-font-family: "Lucida Grande";">Woven on a mechanical jacquard loom, each tapestry represents a </span><a href="https://en.wikipedia.org/wiki/Rorschach_test"><span style="mso-bidi-font-family: "Lucida Grande";">Rohrschach</span></a><span style="color: black; mso-bidi-font-family: "Lucida Grande";">-like four-time multiplication of one quadrant of the original
image. Dense and rich, they appear at once medieval and futuristic, tribal and Baroque, with varying texture, thick and thin, and colors that range from murky to
brilliantly clear.<o:p></o:p></span></div>
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While my friend and I stood riveted for at least 20 minutes, a couple
with a car and driver waiting outside, entered the otherwise empty storefront gallery, walked
up to one tapestry, said “Wow!” and walked out. <o:p></o:p></div>
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Although photos cannot possible replicate the experience, here are some attempts (oddly, my iPhone photos have more vibrant color than the official ones):<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0_Af9obnrpn8-e9ZMsLPzmmMaG1u6eNMVKxXySp3M_9vdW1hisd0pBZ7V9IezOUMKimSdZUBdCNA9zG7_wZIAFGqBcLVtvT554VBQQn6C4ZV8sdZ73jR23Y6f9H7ChwvKIe3xFRJ3OCw/s1600/Richter+corner+2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0_Af9obnrpn8-e9ZMsLPzmmMaG1u6eNMVKxXySp3M_9vdW1hisd0pBZ7V9IezOUMKimSdZUBdCNA9zG7_wZIAFGqBcLVtvT554VBQQn6C4ZV8sdZ73jR23Y6f9H7ChwvKIe3xFRJ3OCw/s400/Richter+corner+2.JPG" width="400" /></a></div>
<span style="font-size: xx-small;"><b> Gerhard Richter, Tapestries, 2009 (Installation view)</b></span><br />
<span style="font-size: xx-small;"><b><br /></b></span>
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm8V9ZqKisxKe5TLVwcXEYB_Smw21QRO9B2jAcVQ1Ipawyl4CdogCIE_2XHHsMUBSWaUVavmN5LJVRIl1ErZjKb8uNY3RCcUGDoysquA515zwePmVmzmZR5GcxJ8-Oq7Pbt_2yqwZOCL4/s1600/photo+Richter+corner.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm8V9ZqKisxKe5TLVwcXEYB_Smw21QRO9B2jAcVQ1Ipawyl4CdogCIE_2XHHsMUBSWaUVavmN5LJVRIl1ErZjKb8uNY3RCcUGDoysquA515zwePmVmzmZR5GcxJ8-Oq7Pbt_2yqwZOCL4/s400/photo+Richter+corner.JPG" width="400" /></a></div>
<span style="font-size: xx-small;"><b>Gerhard Richter, Tapestries, 2009 (Installation view)</b></span><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLvcVUhyphenhyphenirPKx-QCBwDsE6sSTGJfUdHOMpapV2d8TVpl6L9ZJJx0OsUxT_NmyUBEAh-JHsVgIyFMy_PwLzXJoDya5nWrvH-cSWzdh7afrUPY2bSQaEBfb14joSrCFBamkDWeApSaQsxik/s1600/photo.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLvcVUhyphenhyphenirPKx-QCBwDsE6sSTGJfUdHOMpapV2d8TVpl6L9ZJJx0OsUxT_NmyUBEAh-JHsVgIyFMy_PwLzXJoDya5nWrvH-cSWzdh7afrUPY2bSQaEBfb14joSrCFBamkDWeApSaQsxik/s400/photo.JPG" width="400" /></a></div>
<span style="font-size: xx-small;"><b>Gerhard Richter, Tapestries (Detail)</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj44wn-DuSR8rGFvq_Rnkd9gRm0nWilyRV1cT3zxNzFnNAjJSzuXTDBvlW3k313RMjJs2F5t-me8DCrQq10vFghqbhT5RDwWpPjAdqLrI6KN432LhsC4Vf4Gz-biVvEZ1vvuntPIsFv0Sg/s1600/photo--2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj44wn-DuSR8rGFvq_Rnkd9gRm0nWilyRV1cT3zxNzFnNAjJSzuXTDBvlW3k313RMjJs2F5t-me8DCrQq10vFghqbhT5RDwWpPjAdqLrI6KN432LhsC4Vf4Gz-biVvEZ1vvuntPIsFv0Sg/s400/photo--2.jpg" width="400" /></a></div>
<span style="font-size: xx-small;"><b>Gerhard Richter, Tapestries (Detail)</b></span></div>
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Carol Diehlhttp://www.blogger.com/profile/09023589628710711343noreply@blogger.com6tag:blogger.com,1999:blog-4865764596112100655.post-45741260754491624552013-06-18T20:23:00.000-04:002013-06-18T20:32:42.808-04:00HiatusI have not stopped blogging, but have simply been concentrating on drawing to the exclusion of everything else. I have no doubt that the desire to vent about something will overtake me again at some point and the floodgates will reopen. Please sign up for email alerts so you'll know when this happens. In the meantime:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1u3-7QjL18E4-d1SDWXA3FxuKLgVe83O3I0EiuPvNjss0GYsLctPE1SiFvVSQ9BXMAWxMc0o8_STvG3cJVTv4SO0KdWwn1Q14NA3TdX718WhTWrLbg-fLlGz9iXxsaEb7pAWQoMXH23k/s1600/RED.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1u3-7QjL18E4-d1SDWXA3FxuKLgVe83O3I0EiuPvNjss0GYsLctPE1SiFvVSQ9BXMAWxMc0o8_STvG3cJVTv4SO0KdWwn1Q14NA3TdX718WhTWrLbg-fLlGz9iXxsaEb7pAWQoMXH23k/s400/RED.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjet4pq7hqKX-lUs7xCnb-iUQPIZ0qwsavYJ9cGg1XislzoCURh_1UQXfe0jkVJ4pVHNjD1MdMxm9VIEfDFIOtqMguQ1HOUaV6j9PsjyJtHrKlCtTFPnWQOonaIutZaGPjLUgaApjdSJS0/s1600/DRAWING.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjet4pq7hqKX-lUs7xCnb-iUQPIZ0qwsavYJ9cGg1XislzoCURh_1UQXfe0jkVJ4pVHNjD1MdMxm9VIEfDFIOtqMguQ1HOUaV6j9PsjyJtHrKlCtTFPnWQOonaIutZaGPjLUgaApjdSJS0/s400/DRAWING.jpg" width="400" /></a></div>
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Both are ink and graphite on Arches, 12" x 16", as yet untitled.<br />
<br />Carol Diehlhttp://www.blogger.com/profile/09023589628710711343noreply@blogger.com3tag:blogger.com,1999:blog-4865764596112100655.post-85913108178844974042013-05-23T22:49:00.001-04:002013-05-26T14:30:23.872-04:00Trickster: Matt Freedman at Studio 10, Bushwick<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSzzvxBJSz7p2ofmuCHhrBnL6y9E6-bD2k-Fd9j3O1wm87hyqiRZy9Vk80BRBVulxmCoTuOpJumDsRVGswsJuykwDynDHyyEfAh2oMqcJ_RlaQ_kXABxn9_7NCIp4nS-0yDpQxE2mhhco/s1600/dead_man_s_hand_image.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSzzvxBJSz7p2ofmuCHhrBnL6y9E6-bD2k-Fd9j3O1wm87hyqiRZy9Vk80BRBVulxmCoTuOpJumDsRVGswsJuykwDynDHyyEfAh2oMqcJ_RlaQ_kXABxn9_7NCIp4nS-0yDpQxE2mhhco/s400/dead_man_s_hand_image.jpg" width="400" /></a></div>
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<b><span style="font-size: xx-small;">Matt Freedman, <i>Dead Man's Hand, </i>epoxy and cards, 2013.</span></b></div>
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I’ve started writing this post a million times, but there’s
no good way to begin. Okay, there’s an exhibition at <a href="http://www.studio10bogart.com/pages/index.php">Studio 10</a> in Bushwick by
my beloved friend, <a href="http://www.mattfreedman.org/">Matt Freedman</a>, who’s been strenuously treated for a rare
form of cancer since the fall. The show, in Matt’s ironic, funny,
touching, and self-deprecating way, is about his experience, and although heartbreaking,
it’s not depressing. It’s just Matt, and art. Not art meant for the walls of
the 1%, not art to further a career, not art meant to make a pithy statement
about the human condition or to show off craft, but art made
because Matt is an artist and this is how he processes the events of his life.
If you want to know what art really is, this is it.</div>
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<o:p></o:p></div>
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The title of the <a href="http://www.studio10bogart.com/pages/description_page.php?page=44">exhibition</a> is “The Devil Tricked Me,” and
indeed we could say the devil tricked all of us who know Matt, who has not a
mean bone in his body. In the more than 20 years I’ve known him, I can’t
remember hearing him say anything against anyone. Wickedly smart
and without a shred of guile (two characteristics that often don’t go together), Matt's conversation tends toward humorous, gently ironic observation—as does his writing and art—and here he is observing himself face-to-face with mortality and his heroic
attempts to thwart it.<span style="mso-spacerun: yes;"> </span><a href="http://www.studio10bogart.com/pages/images_page.php?page=44">The 13 objects</a>,
all depicting folk admonitions of bad luck—broken mirrors, “three on a match,” stepping
on a crack in the sidewalk—were made, for obvious reasons, without a lot of
attention to craft. Yet nothing could be more heart wrenching than Matt’s pile
of open and slightly crushed umbrellas, those fragile objects made to protect
us that can so often fail. And the rainbow-colored ladder, which we must walk
under, could be a stairway to heaven or, as I prefer to think of it, a way out,
the escape route back to normal life. <o:p></o:p></div>
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Along with the exhibition are reproductions, for sale, of
the journal with sketches Matt made during his extreme treatment. Again, I can
only read a little bit each day, but it’s a way of keeping Matt in my thoughts.
As his friends, we won’t let the devil trick us—having Matt in our lives is
some of the best luck we’ll ever have. We love you, Matt!<br />
<br />
Update: And <a href="http://hyperallergic.com/71830/born-under-a-bad-sign-hard-luck-art-and-tumors/?utm_medium=email&utm_campaign=Weekend+Matt+Freedman+Music+Reviews+Matias+Viegener&utm_content=Weekend+Matt+Freedman+Music+Reviews+Matias+Viegener+CID_ffd5f0ee42d46c5e70bc54717ecfaf85&utm_source=Newsletter&utm_term=Born%20Under%20a%20Bad%20Sign%20Hard%20Luck%20Art%20and%20Tumors">here</a>, a detailed and eloquent review of the show by Thomas Mitchell.</div>
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Carol Diehlhttp://www.blogger.com/profile/09023589628710711343noreply@blogger.com3