Monday, Monday
Seems like a good day for Looking Around to do some looking around.
1. Fisk has decided to appeal the judge's decision that required it to display the Alfred Stieglitz Collection that has been in storage since November 2005. Last month a Nashville judge said that Fisk could keep the collection. The Georgia O'Keeffe Museum in Santa Fe, which administers O'Keeffe's estate, was suing to take back the collection, which O'Keeffe had given to Fisk in 1949. Now Fisk says that it can't accept the judge's ruling because it also orders the school to put the collection on "permanent" display by October, while good curatorial practice requires that artworks should be removed from display periodically. "In short," Fisk said in a press release about its decision to appeal, "the court's order results in the inevitable deterioration of the Collection."
But does the appeal mean that Fisk is also seeking to overturn that part of the judge's ruling that bars it from selling any of the collection, as it hoped to do in a sharing arrangement with Alice Walton's Crystal Bridges Museum in Bentonville, Ark? That press release pointedly, almost wistfully, mentions the Crystal Bridges deal as "the most discussed, and most well financed opportunity for Fisk and Nashville to date." Could the real purpose of the appeal be to re-open the argument that Fisk should be allowed to sell an interest in the collection to Walton?
2. The Boston Globe's Geoff Edgers profiles Antonio Lopez Garcia, the meticulous Spanish realist who is getting his first American museum exhibition this month at the Boston Museum of Fine Arts. (And don't miss the slide show.)
3. Blogger Catherine Spaeth describes my post about bad art writing as a "call for censorship". Actually, I thought it was a call for editing, something nearly all published texts are subjected to, especially the ones directed to a general public, and usually for something called "clarity."
4. Michelangelo: R.I.P.
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1
My thoughts, for what they are worth . . . . .
Alfred Stieglitz was one of the first and best artist-photographers. His work should be displayed! The Steerage is a flat-out masterpiece (if you know the story behind it . . it was clearly written when I did!)
Also, I had to get in on this conversation about art writing quick . . . . I was watching an interview with David McCullough (sp?) who said: writing clearly is closely connected with thinking clearly (or something like that). I know-- this coming from a guy who publishes 1000 page behemoths--but his writing is enjoyable to read because he cuts out the unneeded elements. Censorship would be not writing at all. Though, the art world doesn't do itself favors when it isolates itself from the public with code-language -- using art-speak or bad writing is the best way to censor a good idea from the public you are trying to reach. I would also say that companies/corporations are the ones censoring art critics nowadays!
Also, If you look at artists themselves, I think some of the best are the ones who applied the same logic (cutting out the unnecessary elements) Artists like these challenged the mainstream, but were also maintained a certain clarity about what they did (obvious examples include the Beatles, Frank Lloyd Wright -- who doesn't value these artists? That would be like hating puppies). There is a place for deconstruction too (the Beatles did do revolution #9, so nobody's perfect). One can debate the societal merits of deconstruction vs. humanism, but i won't go into that here.
That's is what makes art fun (the debate). Basically, we just have to keep debating. The world needs art to challenge and be involved with society, but it can't be if nobody can understand what it's saying. That said, I thought that Idiocracy was the best movie of 2006 (?) so i don't know what that means about my opinion.
Also, we need to challenge Bush. Obama 08! JK. But seriously.
I also have to say that it's a travesty that Tadao Ando isn't a household name. Suggestion: man of the year?
Okay, I'm done. -
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I should have edited this before i clicked submit . . . . I few typos. Apologies.
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