Title : "[T]o an almost comical degree, this revised version of the exhibition exemplifies a conflict between an old idea of art as an index to everything that is profound, slippery, enigmatic and unknowable and..."
link : "[T]o an almost comical degree, this revised version of the exhibition exemplifies a conflict between an old idea of art as an index to everything that is profound, slippery, enigmatic and unknowable and..."
"[T]o an almost comical degree, this revised version of the exhibition exemplifies a conflict between an old idea of art as an index to everything that is profound, slippery, enigmatic and unknowable and..."
"... a new conception of art museums as places peddling 'wellness,' promoting the appearance of wokeness and finding institutional purpose in the culture of therapy. 'Philip Guston Now' frames Guston’s profound and complicated oeuvre with patronizing wall labels. At the entrance to the exhibition and on the museum’s website, we are offered an 'Emotional Preparedness' statement by health and trauma specialist Ginger Klee, MS, LMFT, LPCC. Patrons are also offered an opportunity to exit the exhibition ahead of the gallery showing some of Guston’s cartoonlike images of crude, deliberately pathetic figures with Ku Klux Klan hoods.... Only on my second walk through the show, when I made a conscious decision not to read anything, did I remember how much I love Guston and his hectic, overbearing, goofy, maudlin, self-mocking, mute and reliably perverse view of the world. In a time of cant, where almost every cultural product is advertising something and defending preemptively against something else, Guston’s generous art is liberating."
From "In long-awaited Philip Guston show, great art comes with a warning The ‘Philip Guston Now’ exhibition, controversially postponed in 2020, has opened at Boston’s Museum of Fine Arts" by Sebastian Smee (WaPo).
Here's my post from September 26, 2020: "4 major museums have postponed a retrospective for a highly respected painter — Philip Guston — because some of the paintings have images of the KKK." My reaction at the time:
There's no reason to think Guston liked the Klan. It's for the viewer to gaze on these painterly cartoons and wonder what the hell is this supposed to mean? or just to think hmmm, there's that or whatever you think in a museum... those bastions of white supremacy!
Maybe you think, yeah, this is all cute fun or mysterious ambiguity for elite white folks but it's all made possible by an unexamined sense that black people don't matter.
Okay, but maybe Guston meant to say that — to draw you in and then challenge you to confront your impulse to accept the KKK when it's painted and in a museum.
"... a new conception of art museums as places peddling 'wellness,' promoting the appearance of wokeness and finding institutional purpose in the culture of therapy. 'Philip Guston Now' frames Guston’s profound and complicated oeuvre with patronizing wall labels. At the entrance to the exhibition and on the museum’s website, we are offered an 'Emotional Preparedness' statement by health and trauma specialist Ginger Klee, MS, LMFT, LPCC. Patrons are also offered an opportunity to exit the exhibition ahead of the gallery showing some of Guston’s cartoonlike images of crude, deliberately pathetic figures with Ku Klux Klan hoods.... Only on my second walk through the show, when I made a conscious decision not to read anything, did I remember how much I love Guston and his hectic, overbearing, goofy, maudlin, self-mocking, mute and reliably perverse view of the world. In a time of cant, where almost every cultural product is advertising something and defending preemptively against something else, Guston’s generous art is liberating."
From "In long-awaited Philip Guston show, great art comes with a warning The ‘Philip Guston Now’ exhibition, controversially postponed in 2020, has opened at Boston’s Museum of Fine Arts" by Sebastian Smee (WaPo).
Here's my post from September 26, 2020: "4 major museums have postponed a retrospective for a highly respected painter — Philip Guston — because some of the paintings have images of the KKK." My reaction at the time:
There's no reason to think Guston liked the Klan. It's for the viewer to gaze on these painterly cartoons and wonder what the hell is this supposed to mean? or just to think hmmm, there's that or whatever you think in a museum... those bastions of white supremacy!
Maybe you think, yeah, this is all cute fun or mysterious ambiguity for elite white folks but it's all made possible by an unexamined sense that black people don't matter.
Okay, but maybe Guston meant to say that — to draw you in and then challenge you to confront your impulse to accept the KKK when it's painted and in a museum.
Thus articles "[T]o an almost comical degree, this revised version of the exhibition exemplifies a conflict between an old idea of art as an index to everything that is profound, slippery, enigmatic and unknowable and..."
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