unexpected art

Posted by: Wolf2 on 23 January 2009

What to do when people react negatively to something you really enjoy?

2 cases

I saw Francis Bacon's retrospective show at LACMA in 90. A friend in my grad class lived here in LA so stopped by to pick him up and his partner and a friend wanted to go. We knew what to expect, but the other two were horrified. It was too funny to see them take in these huge and often horrific images, esp the tryptic of his partner dying on the toilet. They were in the crowd and you could see them turn and practically jump back in shock. I laughed a few times watching them. One small piece I wanted for my own. it was a grassy field with vague trees behind and a dark shape between like a gorilla staring at you, very ominous, I suddenly felt like prey, and made the hairs stand up on my arms and neck, loved it. You don't get those kinds of reactions from pretty art. I told them Bacon was the Poe of art. They hated it. Oh well!

I also had been in Japan with a teacher's tour of gardens with 12 students. a year later LACMA had a great show of contemporary Japanese artists. It f---ing blew my socks off. All the students that went thought it was just awful, I told them they didn't know what they were talking about and apologized to Takeo, such a sweet man. He knew. But they relentlessly tried to cow me into an embarrassing situation of saying it was awful and and tasteless. Funny when people come up to something they don't expect and react wildly.

The rooms were typical large white boxes with these fantastic sculptures. One was a HUGE tree trunk laying on its side, but had been turned into a J. How the hell was that done? no marks on the trunk at all and commanding the center of the first room. I suspect soaking in water and slowly bending it into shape.

Another was a woman who bound palm fronds or fibers, into human size bundles and the info said she'd work them and wrestle them till she could do no more, each and a character of it's own. At the end of one narrow room and artist had taken wooden shipping flats all marred up and stacked them into a fan. Art Brute for sure.

I've not seen a show as impressive in a very long time, but boy did these characters hound me and tell me how awful it was. One minute I'm in a pack of friends and suddenly I'm an outcast. I'd hate to think what they'd be like with a pile of stones to throw. I just walked away. No sense in trying to educate them about my life long courses in art history from ancient to modern. Oh Well!

To think that they were Landscape Architecture students and should have some sense of art as they want to make a career out of styling someone's environment? I bet they'd never looked at Architectural Digest or taken an art history course. Some people think that's boring.

Any body else ever feel the sting of being outcast like that?
Posted on: 23 January 2009 by Bruce Woodhouse
I'm a regular gallery visitor at home and abroad. I'm mellow about liking what I like irrespective of other's views. The joy (and mystery) of art is at least partly to do with the fact that your response to it is uniquely personal and not going to be the same as that of another. It can of course be difficult to look at art you have been told is 'great' and be able to form your own opinion or reaction. Sometimes I think this loading of art with critical 'weight' can ostracise people and polarise a reaction to instant love or hate. I think you see this a lot at modern art galleries where you often hear snorts of derision or incomprehension. Sometimes they come from me too!

We bought a picture a year or so ago that for us was a significant purchase. We don't show it to people who visit our home because their reaction is actually unimportant. We love the picture, and living with it every day it has grown in our affections in a way that nobody else could appreciate. I think of it almost as a mirror sometimes (it is an abstract) and it can reflect our moods, or the seasons. No-one apart from us can have that relationship with the picture.

In the same way I'd not get bothered if art I liked in a gallery left every single other person in the room unmoved. It is irrelevant to my own interest or pleasure. Whilst sharing and discussing a reaction to a piece of art can increase the pleasure (and my wife and I diverge in tastes often) ultimately it does not spoil it if I'm alone with my views.

Next week I'm going to see the Rothko exhibition at Tate Modern, and that is an artist perhaps more than most who really needs to be viewed in peace and solitude. Luckily I can quite easily feel in a 'bubble' when in a gallery and ignore the crowds around.

Bruce
Posted on: 23 January 2009 by Wolf2
yeah, I agree with what you say. Lucky you Rothko. 2 decades ago we had a retrospective I came up to LA just for that, by the end I'd slowed and really enjoyed them. I stayed the night and went back the next day. I have drawn and painted, but figuratively. I can't do abstract myself. It sure helps to understand works when you've tried to do some of it yourself. I try to keep an open mind but I too find some things I hate. It was fun last year to clean up my apartment, a little paint, different window coverings, and hang art from friends and my own. It's all an exercise of the mind as in music. Art enhances everything I experience now in one way or another.
Posted on: 24 January 2009 by mjamrob
I saw the Rothko last week. It was well worth seeing even though he isn't my favourite painter from that period of American art.

I was really moved by the black paintings, they had a real intensity and the eye took a while to attune to the subtle changes over the surface of the canvas.

I was surprised by the way they hung the Seagram murals (some of which belong to the Tate already), they were so high up it was difficult to look at them, and they just looked a bit ridiculous to me in such a large space. Apparently Rothko painted them at this kind of height.

As an artist myself I'm used to my work having a degree of inaccessibility, for me it is just the way things are.
It's like music the more you listen the more familiar you become with the language, not everyone can be bothered.

regards,
mat
Posted on: 24 January 2009 by Wolf2
Yes, those black ones are meditative. I have a friend that taught design in Texas and on a field trip around Texas they go to the Rothko Chapel with 8 black canvases. He said some students would would walk around and then out, and others would hang on and sit or lay on the benches to take them in, others would have their nose right up to them. He said it was interesting watching them take it in.

I found one with plum violet and brown once, can't remember the 3rd color. It was so deep, rich and restful.

We have this Motherwell painting at LACMA, I just love it as it commands one wall of the gallery.
http://collectionsonline.lacma.org/MWEBimages/mca_mm/thumb/AC1995_95_1.jpg
Posted on: 25 January 2009 by mjamrob
Hi Wolf, I'm sure in the flesh that Robert Motherwell painting is awesome.

I would love to go to the Rothko Chapel, I didn't realize that the paintings were from the Black series which I've never seen before. Then there's a Cy Twombly collection nearby, who's work I love.

I've always wanted to go to the Spiral Jetty too, well I will have to make the trip to the US soon.

regards,
mat
Posted on: 25 January 2009 by northpole
I was dragged along to the Tate last weekend by some artist friends to see the Turner competition entries.

We were all incandescent that the majority of the 'work' was such a poor promotion of art (if not a betrayal) to the general public.

The most interesting room was the one where people are encouraged to record their opinions and post them on the wall.

We quickly legged it to the Tate Modern.

Peter
Posted on: 25 January 2009 by BigH47
We quite often go to the Tate Modern if we are in that area. I'll love a good laugh when I'm in London.
Posted on: 01 February 2009 by Bruce Woodhouse
quote:
Originally posted by mjamrob:
I saw the Rothko last week. It was well worth seeing even though he isn't my favourite painter from that period of American art.

I was really moved by the black paintings, they had a real intensity and the eye took a while to attune to the subtle changes over the surface of the canvas.

I was surprised by the way they hung the Seagram murals (some of which belong to the Tate already), they were so high up it was difficult to look at them, and they just looked a bit ridiculous to me in such a large space. Apparently Rothko painted them at this kind of height.

As an artist myself I'm used to my work having a degree of inaccessibility, for me it is just the way things are.
It's like music the more you listen the more familiar you become with the language, not everyone can be bothered.

regards,
mat


Intresting to read this now, my own feelings when we went last week were very similar. For an artist with an essentially fairly narrow style I was suprised to be so divided by the exhibition. Some seemed intense and fascinating (the black pictures especially) but others failed to inspire. Some in the Seagram room looked almost unfinished, others quite enthralling. I thought individual pictures worked well but the ensemble failed to add much and perhaps actually detracted from my favourite works. Curious really!

Still, glad we went. We also saw the Byzantium exhibition at the RA and a small exhibition of 'pure' drawing in the Turner Wing at Tate Britain amongst other things. We had a cultured week!

Bruce
Posted on: 02 February 2009 by mjamrob
Nice to hear you liked the black paintings as well Bruce, and that you had a worthwhile cultural trip down to London.

I am intrigued by the 'Pure' drawing exhibition, which I haven't seen.

regards,
mat
Posted on: 05 February 2009 by Wolf2
it is really interesting how an artist can zero in on a style and work it over and over in so many variations. Yes, some pieces work and some don't.

Abstract is so difficult to pin down, it becomes about the material and how it's handled. As you've noticed in second hand shops old abstracts can really suck and you see a great one it can just knock your socks off. I was at my parent's in Laguna Bch for lunch, across the street was a new high tech gallery, big pictures. Turns out it's Ed Moses' new works, an LA artist that goes back to the 60s. Looked like he was using a giant squeege with colored paints and lots of black. One work I thought fascinating. I didn't look at the small ones I didn't want to be tempted by one I just couldn't leave behind.

I can't do abstract at all, now I want to mess with my orchid prints and stretch my limits. It would be so nice to have an extra bedroom to get messy in.