The Dark Knight in Mexico: A Batman Birthday Exhibition

To mark the 75th Anniversary of the first appearance of Batman in “Detective Comics” back in 1939, Warner Brothers and MUMEDI, the Design Museum of Mexico, co-sponsored an exhibition inviting artists to submit their own, customized versions of the Dark Knight’s signature bat-eared cowl and cape.  The resulting show opened recently at MUMEDI, and showcases a wealth of talent and creativity.  Using the same maquette, each artist focused on different aspects of Batman’s personality, backstory, and so forth, creating some truly unique designs.

You can see photos and a video featuring many of the exhibition entries by following this link.  There are a number of terrific ones, but my favorite has to be this absolutely amazing, intricate version by artist Christian Pacheco (Kimbal) which you can see here.  If you love archaeology and art history as much as I do, you’ll immediately appreciate why I was drawn to this piece.

The artist used one of the ancient Maya gods, Camazotz, as his inspiration, and appropriately so.  For in Mayan mythology Camazotz was, in fact, a “Bat-Man” – i.e., an anthropomorphic bat, who ruled the night.  Unlike Batman from the comics, Camazotz was a monster, and liked to rip people’s heads off, but then again Bruce Wayne when he’s angry is apt to do the same thing, so perhaps there’s a further analogy to be made.

More importantly, the look of the thing is just brilliant.  If you have ever seen works of pre-Columbian sculpture, you’ll recognize that the techniques and principles Kimbal used in his work are referencing ancient works which, while originally brightly painted, have faded somewhat over time and from being buried for centuries.  The laying on of thicker, almost extruded layers of clay to build up the design on the armor gives an even greater, weightier presence to the superhero.  Kimbal has clearly done his homework, and looked at a lot of the archaeology and art history of his country to get this just right.

Even if you knew nothing about Batman from the comic books, and saw this piece displayed at a museum with a substantial collection of early sculpture from the Americas, such as Dumbarton Oaks here in D.C., I daresay you would not find it the least out of place.  The fact that the artist made the connection between the artistic past and the pop culture present, is exactly the sort of bridge-building I like to see. It opens up the viewer to exploring new ideas and areas of learning, which they might never have been aware of otherwise.

The exhibition runs from now until October 8th at MUMEDI in Mexico City.

"Batman" by Kimbal (2014)

“Batman” by Kimbal (2014)

Bargain Sale Patriarch: A Tale of the Sad Decline of Art Collecting

I was surprised to read the news that British investment banker Jonathan Ruffer is to open a new public gallery dedicated to his collection of religious art, focusing on the period known as the Spanish Golden Age of the 17th century.  Ruffer famously purchased the monumental series of paintings known as “Jacob and His Twelve Sons” (c. 1640-1644) by Francisco de Zurbarán a few years ago for the bargain price of £19 million, and then gave them back to the Anglican Church, which had owned them for the last two centuries.  However Mr. Ruffer has been accumulating many other works for his personal collection for years now.  The reason he is able to do so, frankly, is overall rather a sad one for the world of art collecting.

Creating an art collection like the one which will form the nucleus of this new museum in County Durham, focusing on major works from the Counter-Reformation in Spain, is not an easy thing to do.  The majority of the art of this period is now housed in publicly-owned museums, rather than held by individual collectors.  The fact that someone could still, just within the last 20 years, assemble a group of works of the level we’re expected to see in this new, public-but-private museum, is truly remarkable.

The fact that Ruffer chose not to hold on to the Zurbarán paintings, which would have been the star of this new museum, surprised many, but then there are many surprising things about these pictures.  The story of how “Jacob and His Twelve Sons” ended up in England in the first place, for example, is pure speculation. The generally accepted theory is that they were captured as booty by British privateers, stolen on their way to a monastery in the New World from Spain.  They were then brought back to London and auctioned off quayside.

What is known for certain however, and which is rather fascinating, is that at some point the paintings entered the collection of James Mendez, the son of a Sephardic Jew who had come to England as the personal physician of Queen Catherine, wife of King Charles II.  As the Mendez family wanted to get along with the Anglican gentry, they discarded what they perceived as more overt aspects of their Jewish culture.  Although these paintings were painted by a Catholic for a Catholic institution, their Jewish subject matter and monumental scale probably seemed too overtly Jewish for a family trying to mingle in English high society at that time, which was often blatantly anti-semitic. Thus they eventually passed into the collection of the Anglican Bishops resident at Auckland Castle.

Today the stigma of being a lover of religious art has spread to become a kind of general malaise throughout the world of art collecting.  When a group of thirteen magnificent, beautifully made religious paintings like these, from one of the greatest painters of the 17th century, sells for around $30 million, while a hideous monstrosity like this sells for $142 million, something is very wrong.  If you wanted proof that our present society prefers ugliness to beauty, not just aesthetically but in everything else, here at least is some compelling evidence advancing that theory.

Of course, the flip side to this downturn in taste is that it is a great time to be a collector with an eye for beauty and meaning, as Mr. Ruffer clearly is.  The paintings and sculptures that are being overlooked, by the pursuers of the new and lacking in nuance or skill, do not fetch as high a price.  So of the saleable stock remaining from the world of Western Civilization before its decline into incontinence, should you have a few million sitting around, there are still some lovely things to be had.

Detail of "Jacob" by Francisco de Zurbarán (c. 1640-1644) Auckland Castle, County Durham, England

Detail of “Jacob” by Francisco de Zurbarán (c. 1640-1644)
Auckland Castle, County Durham, England

 

 

 

The Not-So-Humble Vegetable

Now that the Northern Hemisphere is entering into Autumn, it’s that time of year when food is particularly on our minds.  Neighbors who cannot possibly eat all of the tomatoes and peppers they’ve grown are desperately looking to hand off their excess crops, rather than let them go to waste.  Fruits like peaches need preserving and canning, while apple picking season began just yesterday in many counties around DC.

The bounty of this time of year has inspired Western artists for millennia.  The cornucopias of the gods, tied to various ancient myths, are to be found in many examples of Ancient Greek and Roman statuary. Fruits and vegetables figure prominently in the work of Old Master painters such as Carlo Crivelli and the strange portraits of Giuseppe Arcimboldo.  In the 17th century, the Dutch and Spanish artists of the Golden Age often produced still life paintings featuring beautifully rendered produce.

Even alongside all of these examples however, it is hard to imagine topping the work of artist Patrick Laroche.  As a classically-trained sculptor, M. Laroche produces many things, from original pieces or restorations for the French national museums and palaces, to enlargements and reductions of existing sculptures, to exploring his own ideas in his personal work, which has a sensuous, Brancusi-like feel to it.  However the reason you need to know him in the context of this post is his current fascination, which lies in creating giant, colorful sculptures of vegetables, some of which have now been installed on exhibit at the Sofitel St. James in London.

Being somewhat of a magpie by nature, I was immediately drawn to the polished gleam of these works.  They are cast in bronze, stainless steel, or resin, and then coated in a high-gloss finish, giving them a colored shine, sometimes reflecting the vegetable’s actual color, sometimes not.  This makes the pieces stand out even more than they already would, just based on their gigantic size alone.

While historically, they are the sort of object that one could imagine a Renaissance prince commissioning for festivities surrounding a wedding or coronation, at the same time they are something a child with a great imagination would create, if he only knew how.  I think this childlike joy in creating the fantastic, in particular, is what makes them so charming: it prevents the pieces from becoming too totemic.  Moreover, M. Laroche’s motivation is celebration, as he told The Daily Telegraph, because he is passionate about gastronomy.  This seems a great way to celebrate the French national love of good food.

Even those of us who do not have the good fortune to be able to eat French food all the time can still admire, even smile or laugh, at work like this.  We can realize that we are very lucky indeed, in the Western world, to have so much good food to choose from in this season of plenty, particularly when so many around the world do not enjoy that luxury.  And while the realization of that fact should not put us off jarring our homemade marinara sauce or savoring the crispness of this year’s pears, perhaps it will also put us in mind of the fact that in sharing that bounty, we can truly demonstrate our gratitude for it.  M. Laroche’s sculptures are a wonderful reminder of how truly fortunate we are.

Patrick LaRoche

Sculptor Patrick Laroche in his Paris studio