Contemporary Artist Andrea Fraser, who does not actually produce anything that a reasonable person would recognize as being art, has just published a new book (or is it art?) titled “2016 in Museums, Money, and Politics”. As ArtNews explains in this rather meandering review, the thesis of the book is that the United States used to be a democracy, but is now a plutocracy, and for some time now Ms. Fraser has had a bee in her bonnet about museums only showing what rich and powerful people want to be shown. Presumably, this includes herself, since she has had shows at most of the more famous Modern and Contemporary Art galleries around the world, when she is not literally prostituting herself on camera, as she did in one of her performance art pieces.
Here we arrive at the place which few in the Contemporary Art world want to visit: the land of grown-ups. It may come as a great shock to the reader to learn that, throughout human history, rich people have not only dominated politics and government – including from the beginning of the American Republic – but they have also used their wealth to do truly terrible things, such as pay for great works of art. Presumably, we would all have been better off if the Medici had not sponsored the young Michelangelo’s studies, or the Habsburgs had not patronized Mozart’s concerts.
And now, if you’ll indulge me, let’s move on to some art news that is actually interesting.
This is going to prove quite an interesting legal tangle to sort out.
The Frick, which recently acquired a large, circa 1810 portrait of Prince Camillo Borghese by the French painter François Gérard (1770-1837), applied for and received an export license from the Italian government to take the painting out of Italy. Now it seems that Italy is crying foul, because on the paperwork the Frick did not mention that the subject of the painting was Prince Camillo. For its part, the Frick counters that the name of the sitter is written on the back of the picture, so why didn’t the Italian authorities actually examine it when they were considering whether to grant an export license? Borghese is not one of my favorite people, having decided to hop into bed with the Bonapartists – quite literally, by marrying Napoleon’s sister Pauline, the subject of one of Canova’s most famous sculptures – but it’s certainly a good portrait. We shall have to see where all of this leads.
Staying in Italy, I have to say that on the whole, I don’t much care for the work of architect, artist, and designer Gio Ponti (1891-1979). His Denver Art Museum is an absolutely hideous building, and his Taranto Co-Cathedral looks like a stage set for a mod-minimalist Vincent Price horror film from the 1960’s. However, one aspect of his project to expand and redesign the University of Padua caught my eye in this New York Times piece announcing an upcoming retrospective on Ponti’s work this fall at the Musée des Arts Décoratifs. This examination room, where a student would have to sit surrounded by professors critiquing and criticizing his dissertation, is an unusually cheerful space for such an event. When I had to give my viva voce, it was in a darkened room with lights glaring in my face, like at a police interrogation in a film noir. Had I this panel to look at, I probably would have been less nervous.
To celebrate the 500th birthday of one of the most important and influential figures in Italian Renaissance art, on September 6th the Palazzo Ducale in Venice will be opening a major retrospective on the life and work of Jacopo Comin (1518-1594), better known as “Tintoretto”. Fortunately, those of us on this side of the pond will not be left out of the picture, because the exhibition will travel to the National Gallery here in DC beginning March 10th of next year. This will be the first major retrospective of Tintoretto’s work ever held in the U.S., so it promises to be one of those “blockbuster” exhibitions that you may want to choose a Wednesday morning to go visit, rather than a Saturday afternoon. While I don’t believe that Tintoretto’s “Il Paradiso” from the Doge’s Palace, the largest painting in the world ever painted on canvas – 74 feet long and 30 feet tall – will be making the trip, I’m illustrating it here just so you can marvel at the sheer bravura of what the artist was able to accomplish. This will be one exhibition that you should not miss, if you find yourself in Venice this fall or in Washington in the spring.