You don’t often see me write about Contemporary Art on this site, and there are various reasons for that. Among these is the fact that I prefer to read and think and write about art and design created by people who have been dead for awhile. History and a bit of distance usually, although not always (see, e.g., Basquiat) allow us the chance to examine the work of these individuals in a more balanced, dispassionate way.
That being said, in order to keep up with what’s going on in the art world, I read about all kinds of Contemporary Art in the dozen or so art news sites I visit daily. As it’s hard enough for me to slog through the written gobbledygook that usually makes up this sort of news, I don’t feel the need to impose that same level of suffering on my subscribers by writing in an opaque fashion. Nevertheless, I think it’s good to show you, at least occasionally, why it’s important to me to curate what I write to you about, in the hope that you’ll have something edifying to take away with you when you read one of my posts.
Jeff Koons, the American artist known for designing things like the infamous porcelain sculpture of Michael Jackson with Bubbles the Chimp, or giant puppies made out of topiary – he doesn’t make them himself, he has minions for that – has a major work coming to market shortly at Christie’s. Described by Art Market Monitor as “one of Jeff Koons [sic] complex and exacting Play-Doh works”, the fourteen-by-fourteen foot “Play-Doh” is expected to fetch at least $20 million at auction next month in New York. Made from painted aluminum, one of his preferred materials for monumental sculpture, the piece “took 20 years to realize in the manner Koons found acceptable.” Personally, I would have found the piece more interesting, albeit not $20 million interesting, if it were made from actual Play-Doh, but there you are.
Koons has always been something of a whipping boy for conservatives who don’t actually understand very much about art. That being said, even he has come under fire recently from the intelligentsia, thanks to his offer to “donate” a memorial to victims of the 2015 terrorist attack in Paris: but only if Paris pays him roughly $4 million to create it. The sculpture, “Bouquet of Tulips”, is of a giant human hand referencing the Statue of Liberty, holding a bunch of tulips. It would stand nearly 40 feet tall, and be placed outside of the city’s Museum of Modern Art.
Back in January, a group of French intellectuals signed a letter in which they quite reasonably asked why it was that such an important monumental commission, on such a prominent site in Paris, was simply to be given to Mr. Koons, rather than be opened to competition to include French artists [“…si une œuvre d’une importance inédite devait être placée dans ce lieu culturellement et historiquement particulièrement prestigieux, ne faudrait-il pas procéder par appel à projets, comme c’est l’usage, en ouvrant cette opportunité aux acteurs de la scène française ?”] To date, Koons has not responded to this criticism. Meanwhile, since the art world is rather a closed universe, if one group of intellectuals starts attacking a particular artist, then the rest of the art world commentariat will eventually fall into line and do the same.
Yet even when criticizing what is ultimately little more than showmanship on a grand scale, and of the sort that says little to nothing about the victims of violence, the art world can’t help but pen excremental missives that attempt to provide deeper meaning to what is ultimately little more than an occasion of flatulence. “Even as Koons reiterated images of kitsch culture,” wrote one critic in Apollo, jumping on the “Non” bandwagon several weeks after the publication of the aforementioned letter, “his vibrantly sensual surfaces seemed to collide the erotic with the deathly, and space-age technology with the infantile, anatomising the fetishism at the heart of the aesthetic lure of the commodity, even as they enacted it.”
So the next time you see something I’ve written about art, architecture, etc., gentle reader, keep in mind that the reason you’re seeing it at all is because I sloughed through tons of the forgoing sort of material, in order to bring you news which, hopefully, you will find worthwhile.