COUNTRY by Gerry Judah (Now at the Wolverhampton Art Gallery, UK)
I’m going to handle this month’s topic of ‘Failure’ by pointing towards the fact that one can always find bad in good, and thankfully even good in bad. Gerry Judah (work pictured above) almost makes the disaster in the middle east look heavenly. I secretly have a melancholy heart and am strangely energized by seeing beauty pitted against the ugliest human experience (Guillermo del Toro marathon anyone?). With this inverse philosophy in mind, I present three outside reading links that attempt a dual approach:
“Saucy Curatorship and Tofu Art”
While curators are more inclusive with their exhibits, more artists bland up their work to fit.
“To Blockbuster or Not to Blockbuster”
Even large museums are criticized for blockbuster money-producing shows.
“Melancholy as an Aesthetic Emotion”
We can also consider melancholy, not just as a boon to musicians and poets, but also as an aesthetic emotion.
“Besides my other numerous circle of acquaintances I have one more intimate confidant - my melancholy. In the midst of my joy, in the midst of my work, she waves to me, calls me to one side, even though physically I stay put. My melancholy is the most faithful mistress I have known, what wonder, then, that I love her in return.”
- Soren Kierkegaard from “Diapsalmata,” in Either/Or
Portrait of Diego Rivera by Amedeo Modigliani
i like this take on failure and art.
but what about when art does seem to fail, versus when it simply engages a difficult topic? for a very classic example, is there goodness in kitsch?
it’s so hard to find it. perhaps kitsch is good in that it at least exposes people to SOME art, versus having no exposure at all. but i don’t think that really counts.
thoughts?