I highly recommend you check out d richmond’s recent run down of the Great De Kooning show at MOMA @ immaterial culture. There’s a fantastic visual dialog going on between the d’s. But my favorite part of these posts is the postscript where we get a taste of the painters’ lives, not so much de’s life which we all, painters I mean, seem to know about, but d’s life which is as real and as rich. And that, my friends, is priceless.
“The past year was a financial disaster as many artists of my age who haven’t made it are finding a difficult time to find even occasional work. But seeing De Kooning and knowing his personal history of financial difficulties and personal problems and yet still forging ahead with a determination to do whatever he wanted to do despite the commercial pressures to maintain a certain style and not giving a damn about various artists or critics disgust with the Women paintings, etc was fortifying.”
Speaking of de’s end times… There is a wonderful Charlie Finch article on the last day at MOMA on artnet. I agree with Charlie in his assessment of de’s work, though I did think the show was extraordinary, exciting and engaging. However, we are a long, long, long way from that kind of painting and that kind of vision. And I totally agree with Charlie’s assessment of the reinstalled contemporary collection. Though I will say that many of those works were just lost on the Super-sized walls of those galleries. Note to Starchitects – we are there in your building to look at art works not to inspect the underbelly of a Boeing 787, though that particular idea would produce wood (both male and female) in quite a few contemporary artists’ super lows.
money quote: “But that was all the candy to be found, for, per MoMA’s rigid Eurocentric habits, where the dry candy of the mind is everything and what dazzles the eye is nothing, Temkin has hewed to the pretentious intellectualism of MoMA’s contemporary “vision.””
And finally there has been a recent spate of spent credibility in the Art World with a few folks reaching the ignominy of intellectual bankruptcy. Hirst’s tongue in spotty cheek world tour, Prince’s constantly morphing court narrative around the term “infringement,” and, dare I say it, Jerry Saltz’s game show conundrum. The Postmodern endgame has become a spectacle of the ethical. Who’s the real deal and who’s posing? It’s going to be an interesting year!