Why The Arnautoff Compromise is Right for Right Now (reprinted from VisualArtSource.com, 8/16/19). Sequel to previous piece in July 31 East Bay Express (scroll down)..

Victor Arnautoff, Self-Portrait, 1950 or 1951 (location unknown). HR 9490 was Cold War internal-security act.

Play It Down

The recent controversy over Victor Arnautoff’s Depression-era murals at George Washington High School has attracted national attention. The progressive artist’s dignified depiction of black slaves and the now-infamous “dead Indian” (cited by generations of ‘unwoke’ GWHS white kids) excited criticism from minority kids, parents, and activists who feel that the murals demean them and glorify patriarchy and genocide. Their arguments swayed the school board into its unanimous decision to whitewash the murals—to “paint it down” in the words of the iconoclasts, prompting writers from Time to National Review to opine on the curious, only-in-SF case. A similar controversy that erupted in the late 1960s was settled by a compromise: the creation of a pro-minority mural by the young artist Dewey Crumpler, who supported the Arnautoff mural then and still does, now.

The seemingly peremptory decision to delete the mural galvanized massive support from art-lovers and historians, who signed petitions and decried the folly of uninformed censorship. The preservationists argue that the murals should become a central part of the teaching of history and culture. Almost all GWHS alumni support the mural, including actor Danny Glover and Crumpler. After reading Robert W. Cherny’s excellent biography of Arnautoff, I wrote “The Shame of the Mural Censors: Why Art and History Matter” (East Bay Express, July 31, 2019, now online).

In the face of this widespread opposition (75% of San Franciscans oppose censorship), the school board moderated its decision, and now proposes, to its credit, covering up the offensive parts, non-destructively. While I support the preservationist argument for using the murals for education, I believe that this compromise is the best possible solution to what seems a perpetually thorny issue. When I attended the latest school board meeting, on August 13, the passion of the POC kids and parents was emotional and palpable, and surprisingly affecting (despite some dramatic posturing). Many of the anti-muralists asked, with only slight rhetorical exaggeration, “Why do we have to fight this again? We ‘ve been fighting it for fifty years,” echoing Jennifer Wilson’s article, “Black People Don’t Need Murals to Remember Injustice,” in The Nation. That the mural opponents consider the mural advocates—largely older, and white, but with many exceptions—to be patronizing and even patriarchal is unfortunate, but understandable, given the centuries of abuse, exploitation and marginalization that continue today with abhorrent racial attacks, verbal and physical, by whites fearful of losing power and status. With further demographic change (i.e., the browning of America and the political ascendancy of non-racist millennials), might the whole issue eventually lose its toxic charge, making the mural safe to regard as a historical document? Stay tuned. But in the meantime, mural proponents should be wary of overplaying their (our) hand, demanding ‘informed’ acquiescence from the mural opponents, which can seem too much like enforcing silent prayer in the Church of Great White Father One.

The compromise of temporarily covering the painful parts resolves the difficulty for now. Neither side gets a total victory; neither gets a total defeat. I now believe, after observing its proceedings, that the school board, which I had earlier mocked for truckling to PC fashion, made its ill-informed decision in good faith. It has learned not to make snap judgments. The mural opponents and advocates have learned that art and history are complicated and fraught, and that simple solutions are illusory, and, the more radical, the more imperfect and flawed. The controversy, which made San Francisco look ridiculous in the national media for several months, has proven that dialogue and compromise, the touchstones of democracy can work, even in an era dominated by tribal passions and prejudices; by the ‘fake news” president’s assertions that “What you see isn’t happening” and his lawyer’s Zen maxim, “The truth isn’t truth”; the degradation of politics into spectacle and theater driven by distractions and disinfotainment (disinformation plus entertainment); and the historical and cultural amnesia of much of the electorate. It has been, in the words of one constitutional scholar and community activist, a “teachable moment.” 

That we are now an anti-intelllectual culture does not bode well for the future. I refer the intellectually curious to Greg Lukianoff’s and Jonathan Haidt’s article from The Atlantic, “The Coddling of the American Mind,” from September 2015, its title probably alluding to Allan Bloom’s The Closing of the American Mind (1987), which advanced a similar thesis: that doctrinaire political correctness is no substitute for engagement with history, and that critical thinking skills are not just being unthinkingly critical of the professoriate’s designated bogeymen and -women. Democracy is a process as well as an ideal. If the American experiment in self-governance is to survive, if the human world is to continue, we must get informed, choose our battles wisely, and eschew whenever possible ideological showboating, however holy and eternal the cause. Play it down, people.

John Vanderlyn, The Death of Jane McCrea, 1804

 

 

Simon Neri at Avenue 12 Gallery

An edited version was published in Richmond Review, August, 2019

Avenue 12 Gallery Showcases Photo-Mosaics by Simo Neri

 If traditional matted and framed photographs that depict one instant in time from one viewpoint—“the decisive moment,” in the phrase erroneously attributed to the French photographer Henri Cartier-Bresson—seem somehow old hat in the everything-right-now digital era, the current show at Avenue 12 Gallery may be what you’re looking for.

 Urban Rhythms features a variety of photographic collages or mosaics by Simo Neri, shot in Paris, Rome and New York, before her recent return to San Francisco, and printed on cotton canvas and silk. Presenting multiple views of places and events that capture the complexity and simultaneity of contemporary life, they may remind you of the multiple views in Picasso’s cubism and the ironic photo arrays in Warhol’s Pop, a century ago and fifty years ago, respectively. The show opened June 26 and reopens, after a hiatus, on July 31, continuing until August 17.

 If you are unfamiliar with Avenue 12 Gallery, it’s a gem of a space located at the corner of 12th Avenue and Lake Street in the Richmond, across the street from Mountain Lake Park. Formerly a convenience store, the light-filled storefront was converted to a showroom for Japanese furniture and artifacts under the name TableAsia in 2005. Vince Meyer, who with his wife Rachel Murray Meyer owns the gallery, grew up in the Richmond District, and learned metal work from his father, the proprietor of Metal Mending, on Clement Street, between 12th and Funston, across from the Christian Science Reading Room. VInce took over the business from his retired father, and operated it until 1988. In the mid-1980s, a client brought him a tansu, an antique Japanese storage chest of exquisite craftsmanship, requesting that he fashion a steel base suitable for displaying the piece in a western home: raising it about eight inches to table height; protecting it from kicks and scuffs; and bestowing on it the formal presentation worthy of a museum piece.


 Vince: “I fell in love with the whole Japanese aesthetic, the art, the culture; I started reading about Buddhism and Zen, and watching Kurosawa movies—the whole deal.” Devising a strong but minimalist powder-coated black steel structure, he was discovered by other antiques clients as well as a few artists, and Table Asia continues today with in the gallery, discreetly subordinated to the contemporary art, and online (tableasia.com), with custom contemporary furniture fashioned from beautifully carved and gilded windows, doors and ranma, and wooden transom screens, as well as hanging painted silk scrolls and framed katagami, the intricately cut paper stencils used in block-printing fabric for kimonos.

 Several years ago, the Meyers decided to hang the artwork of several painter friends and local artists in the gallery. Rachel: “We thought it was just going to be one show at that point. But it was exciting to see new work on the walls and the artists were so happy to see their work on the walls.” VInce: “We started meeting new people, and it expanded. We always thought of it as an expansion rather than a change.” Rachel has been an art collector since college, buying a painting at the Smith College Art Gallery in installments from her waitressing job (“I have to have this. I want to live with this.”). A professional artist and photographer herself (as well as an industrial engineer), she also had prior experience selling photographs, both hers and those of William Giles and Ruth Bernhard; she was also involved in an art auction benefiting the Dalai Lama. “Sharing the space” with artists and the art community is a priority with the Meyers, who are active participants in the Bay Area art scene as well as members of the San Francisco Art Dealers Association.

In her July 20 talk at the gallery, SImo Neri displayed the passion and intellectual curiosity that mark all of this gallery’s exhibitions. She distinguished between theoretical or project-based artists, who work from a premise, and artists who “go out and hunt and capture visual opportunities ... opportunistic photographers,” with whom she feels a closer affinity. She also identifies as a “serial photographer: “One image does not tell the whole story. Combine enough single images, and patterns and rhythms emerge.” Indeed, for Neri, rhythm is more than a compositional device: it’s her view of the structure of life on earth, visible in the of her patchwork quilt of her earthen-hued photos, “Mura Romane II (Roman Walls); the herringbone pattern of alternating diagonal architectural vistas in “Paris Perspective” and “NYC Perspective”; the architectural treasures of Korea, copied from old books and colorized in Prussian blue in “Door and Windows” and “Roofs”; and collages of Paris garbage (“Trash’), Brooklyn graffiti (“Talking Walls II”) and protest-march signs (”Signs of the Times”). Each Urban Rhythm photocollage is composed of Cartier-Bresson images à la sauvette, to use the French term, taken on the sly rather than planned and pre-visualized: each assemblage of grab shots, to use contemporary American photo parlance, is elevated to the level of art.

 

 

 

 

 

 

Why the Mural, and History, and Art Matter

An edited version of this appeared in East Bay Express, 7/31/19: https://www.eastbayexpress.com/oakland/the-shame-of-the-mural-censors-why-art-and-history-matter/Content?oid=27198706

Why the Mural, and History, and Art Matter

  Our affairs are critical, and we must be dispassionate and wise.—POC Alexander Hamilton, getting better known these days

If freedom of speech is taken away, then dumb and silent we may be led, like sheep to the slaughter. —George Washington, whitewashed blackguard

  The current controversy over the murals depicting The Life of George Washington at George Washington High School, in San Francisco’s Richmond District, has called into question yet again the role of public art in culture and politics. Victor Arnautoff (1896-1979), a Russian-born WPA muralist who worked with Diego Rivera in Mexico, and, in San Francisco supervised the creation of the Coit Tower’s murals, was asked in 1934 to paint a mural for the newly built high school celebrating its namesake. The 1600-square foot mural has come under attack recently for, to put it bluntly, political incorrectness, or a least insufficient political correctness for our enlightened, finicky times.


 It’s unfair. Arnautoff carefully researched “this famous man, a committed defender of freedom” but did not shrink from depicting, albeit relatively subtly (in my opinion), ”the spirit of Washington’s time,” with its mistreatment of blacks and American Indians, abuses that customarily were glossed over by the myth-besotted patriots, and, indeed, just about everyone, eighty years ago. The current thinking holds that Washington was a slaveholder and hypocrite, and thus no liberator; a champion of Manifest Destiny (though the term did not exist until Madison’s presidency); and that this tarnished history is too damaging to high-school students of color—and maybe sensitive white kids, too? Several passionately intense protesters, clad in black, naturally, at the July 15 panel discussion on the murals at the ILWU labor hall in San Francisco even raised placards and repeatedly shouted “Genocide!” Theirs is an intemperate position, ill-suited to a general noted for his air of command and self-control; he was described by one contemporary as “no harum-scarum, ranting, swearing fellow, but sober, steady, and calm.” Nor does it befit an artist who harbored strong leftist convictions, but politically astute, who knew how far it was possible to go when.across the continent, Nelson Rockefeller painted out Diego Rivera’s mural because of a portait of Lenin that the artist radamantly efused to remove. He had just the previous year counseled Bernard Zakheim, a prankish Coit Tower artist, not to include in his mural a sickle and hammer, in vain. “Freedom in America is understood in a special way.”Zakheim, later: “You were right, Mr. Arnautoff. I teased the bulls too much.”

 Nevertheless, the San Francisco School Board decided on June 28, unanimously, on the nearly-unanimous advice of a thirteen-person advisory group, the Reflection and Action Working Group (RAWG), to have the murals “painted down,” erased, at an as-yet unknown cost, but probably requiring a $500,000 environmental-impact study, just for starters. Merely covering the mural with panels would cost an estimated $600,000 to $845,000. Another writer lists the panel cost at $825,000, with curtains costing up to $375,000; in either case, it’s way too much, and totally unnecessary. Arnautoff’s mural, says the board,  “glorifies slavery, genocide, colonization, Manifest Destiny, white supremacy, oppression, etc. The mural doesn’t represent SFUSD values of social justice, diversity, united, student-centered. It’s not student-centered if it’s focused on the legacy of artists, rather than the experience of the students.” “The majority of the group expressed that the main reason to keep the mural up at the school is focused on the legacy of the artist, rather than experience of the students, according to RAWG (I believe). “It’s reparations,” concluded one of the board members, perhaps as dazzled by the astronomical sum as any GOP lobbyist similarly working for a better, freer world. Those postmodernist-victim shopping lists and breathless condemnations, with the broadly inclusive, comical  ‘etc.’ and poor syntax, constitute in no way a reparation; they constitute a sop to symbolic retribution, and the punitive eradication of a liberal statement irom the past is a colossal waste of money. (Can we impeach?) Columnists ranging from the San Francisco Chronicle’s art critic Charles Desmarais to —strange bedfellows in here!—art historian Brian T. Allen in National Review have weighed in for freedom of speech, the latter quite pointedly, outing by name all seven ‘brainiacs,’ ‘bohemian yahoos’ and ‘anti-art fools’ (whose identities I shall leave discreetly curtained, for now, noting that one of them proposed renaming the school, such was his scornful disregard for “the great George Washington,” to quote our ‘favorite president.’ Many of the school’s alumni and teachers along with hundreds of artists and educators oppose this artistic censorship, counseling either leaving the murals intact, and using them as educational tools (which is my position); or, if the anti-muralists insist on their pound of flesh, covering them (or the offending parts) with panels, at a much lower cost, and thus doing nothing irreversibly shameful, ignorant, and hypocritical, heaping national ignominy on the liberal, socialist shithole of San Francisco.  Lope Yap. Jr., the sole RAWG dissenter, and vice president of the GWHS alumni association, as well as a progressive filmmaker and person of color, has pledged to fight to save the murals. Lawsuits and injunctions are probably in the offing. Stay tuned.

 I have opposed political censorship before, as in the teapot tempest over Dana Schutz’s Emmitet Till painting (www.visualartsource.com/index.php?page=editorial&aID=4029), and I try to be independent from art-world groupthink. L‘Affaire Arnautoff contains so many delicious absurdities that slipping into my Henry Fonda Man-of-Reason costume became mandatory. There are three salient points to make about this imbroglio.


 First, let’s dismiss the notion that art should be judged on its politics (what it says or enjoins) instead of its aesthetics (how it looks, makes us feel). This is the old style-versus-content conundrum, which always seems to suggest that we have to make a choice between saving the world and savoring it; we don’t. Art is often enlisted in the service of power, as all good postmodernist children know: and some of the best art ever made was commissioned by plutocrats and/or scoundrels—the Medici, the Hanoverians, the Bourbons, the cardinals and popes, the dynasties, etc.—to enhance their power and prestige. Nowadays we enjoy the splendor of that art while ignoring the imperial or imperialist unpleasantnesses that paid the artists, and we absolutely should revere the art, despite the complexities of history and patronage. If you look at the Sistine Chapel and see only the massacred Indians of the New World, blood transmogrified into aesthetic gold and silver, you deprive yourself of “the greatest thing that’s ever been done,” in de Kooning’s humorously worshipful words; but if you don’t know the sordid history behind the wealth, or ignore it, you’re not a morallly sentient adult. (Michelangelo’s High Renaissance frescos, let it be noted, have survived even the Reformation addition of fig leaves by poor Daniele da Volterra, Il Braghettone, The Breeches-Maker.)

 Much other art sidesteps current affairs—like Abstract Expressionism, with its focus on pure expression (and its contempt for the leftist propagandist art of the1930s: ”poor art for poor people,” in Arshile Gorky’s memorably dismissive aphorism), its cult of the heroic individual, easily co-opted to serve as propaganda for American-Way capitalism and consumerism. Rampant individualism vs creeping collectivism worked in the Cold War; expect a reprise (not a reprieve) again in 2020, bigly. Some artists manage to bestride both worlds: Philip Guston abandoned the elegant shimmering abstractions he made in the 1950s, loosely based on Monet, during the Vietnam-era 1960s and 1970s, in order to revisit the dark Klansman social commentary that he made in the 1930s. His stylistic epiphany and conversion from heavenly formalism—from “adjusting a red to a blue,” as he put it, later, wryly—to sinister/comic narratives like his excoriating drawings of scowling, scrotal Tricky Dick—evoked passionate reactions in the art congregation; he was assailed as a traitor by some, and as a visionary by others. Politically engaged art and fine art are both valid;  and both produce good and bad art: propaganda on the one hand, decoration on the other.

 As to actual treason, remember that, in the late 1940s, before Life magazine discovered Pollock the Cowboy, AbEx was seen not as red-blooded he-man stuff, but as the decadent, effete art of communists, eggheads, and other bearded, bereted subversives, who might be—who knows?—hiding military secrets in those blobs and squiggles. The McCarthyite Republican senator from Michigan, George Dondero, deserves exhumation:

 "Cubism aims to destroy by designed disorder... Dadaism aims to destroy by ridicule... Abstractionism aims to destroy by the creation of brainstorms". In 1952, Dondero went on to tell Congress that modern art was, in fact, a conspiracy by Moscow to spread communism in the United States. This speech won him the International Fine Arts Council's Gold Medal of Honor for "dedicated service to American Art." When art critic Emily Genauer (future winner of the Pulitzer Prize for Criticism) interviewed Dondero in the mid-1950s he stated "modern art is Communistic because it is distorted and ugly, because it does not glorify our beautiful country, our cheerful and smiling people, our material progress. Art which does not glorify our beautiful country in plain simple terms that everyone can understand breeds dissatisfaction. It is therefore opposed to our government and those who promote it are our enemies." When Genauer pointed out the resemblance between his views and those of the Stalinist Communists he despised, Dondero was so enraged that he arranged to have her fired from her job at the New York Herald Tribune. (Wikipedia)




 Second, the mural is an excellent subject for education about art, culture, and politics. While some see Arnautoff’s “Life of George Washington” as a counter-myth or corrective to the semi-divine man-of-all-seasons status accorded Washington for two and a half centuries by ordinary Americans (as well as the Confederacy and American Bund fascists), I see it as a calculated correction by an artist who had learned to be discreet and modulated. Arnautoff was persona non grata in the USSR for decades because of his having fought on the White side of the Russian civil war; conversely, after his conversion to communism in the 1930s, during the San Francisco General Strike, he was investigated by the FBI for his links with Russia and his associations with visiting cultural figures and more ‘out’ communist artists like Diego Rivera,and other intellectuals in early 1930s Mexico City, all professed communists (as much as artists can be, anyway). Arnautoff’s biographer, Robert W. Cherny, repeatedly emphasized during his hotly disrupted ILWU slide talk that Arnautoff’s murals were in no way disrespectful to blacks and American Indians. On the Washington mural, he writes:

 At a time when the popular portrayal of California Indians sometime still depicted them as ”diggers”– the most primitive and degraded of North American tribes–Arnautoff treated them with dignity, presenting the complex artistry of a woman’s basketry and the man’s fox-skin quiver. He also depicted the meeting of Indians and Spanish authorities as a meeting of equals, a sharp contrast to the depiction of that event in the citiy’s “Pioneer Monument” (1894), which shows an Indian groveling at the feet of a ranchero and priest. (p.103)

 That monument was recently removed from Civic Center by the City of San Francisco, and deservedly so. Cherney continues:

Arnautoff said nothing, then or later, about his murals’ counter-narrative to that thenstandard high school treatment of the founding fathers and Western expansion. Washington dominates five of the six smaller murals but the centers of the four largest barrels are held by native Americans, working-class revolutionaries, and enslaved African Americans. In depicting Washington’s early life, Arnautoff centered the mural on native Americans in war paint, surrounded by British, colonial, and French troops and British colonists. In the facing mural, on the American Revolution, the center belongs to five men in working-class clothing raising the flagpole. VA’s portrayal of Mount Vernon puts Washington near the left margin in places enslaved African Americans at the center, More prominent the several white artisans on the right side of the mural.… Arnautoff’s’s mural makes clear that slave labor provided the plantations’ economic basis. On the facing wall Arnautoff was even more direct: the procession of spectral future pioneers moves west over the body of a dead Indian, challenging the prevailing narrative that westward expansion had been into largely vacant territory waiting for white pioneers to develop its full potential. For Arnautoff,”the spirit of Washington’s time” included not only the struggle for liberty and the founding of a new nation but also chattel slavery and the slaughter of Native Americans. (p.108)

The murals are indictments of America’s failings; they are not as dramatic or tragic as the Mexico City and Cuernavaca murals that Arnautoff helped Diego Rivera paint, full of armored, mounted conquistadores battling hand-to-hand with jaguar-costumed Aztecs wielding obsidian knives, or tortured, lashed Indians at the missions, and thus, they are more ambiguous in their sympathies to the casual viewer, unversed in art. They are on the side of the oppressed, however, while simultaneously giving Washington his due without sanctimoniously demonizing him for being of his time, not ours. As for the sentiment that Arnautoff’s rather soberly painted D.I., Dead Indian, has been traumatizing and triggering GWHS kids for eight decades, I would say that the very nickname is evidence to the contrary. (By the way, the Arnautoffs lived nearby, on 37th Avenue, and the two sons attended the school, as did a granddaughter who wanted to be near the murals.)

 Thirdly and finally, the notion that adolescents are excessively delicate and need protection from reality and history in this way is deeply repugnant and patronizing. I shall not quote the anti-muralists, but even the most temperate of them seem to assume that Americans are not able to handle the inconvenient truth that people do bad things to other people in the names of God, justice and empire—or mere self-interest. Life is violent, you say? Take a look at American culture; Arnautoff’s stately mural, even with its hints of America’s dirty hands, is no rival for the breathless farrago of mass shootings and hypocritical, abusive drivel that bombards us, 24/7. Remember H.G. Wells’ bestial morlocks and elfin eloi in 802,701 AD The Time Machine? Given the challenges that we face today, we cannot afford a younger generation trained to accept virtuous passivity; we need revolutionaries with smarts and moxie, and considerable skill at critical thinking—not just being unthinkingly critical as instructed at the Two-minute Hate du jour.

 

 

 

 

 

Lagomorphs


Lagomorphs

 The incessant insanity from Washington may have gradually raised Americans’ threshold of tolerance for nonsense, like the proverbial lobster luxuriating in the slowly warming pot, but sometimes one has to take a stand against even the banal and pointless (saving the truly criminal and murderous for another day). I refer, of course, to the $90,075,000 sale of the not-latest but apparently greatest (at least as determined by the group-mind wisdom of the art market) of Jeff Koons’s balloon-animal sculptures, “Rabbit (1986).” Made in stainless steel, the 41-inch-tall bunny, modeled after a swimming-pool toy, is one of an edition of three, supplemented with one artist’s proof, according to Andrea K. Scott in The New Yorker. It has a curious provenance as well. The painter Terry Winters bought it from Sonnabend Gallery in 1986 for $40,000, selling it a few years later to S.I. Newhouse, owner of Condé Nast (publisher of The New Yorker), for a cool million, for a $960,000 profit. Newhouse’s heirs have just reaped an enormously larger windfall, earning a return on investment of $89,075,000, give or take (minus commissions). Even more piquant in this tale of financial greatness are the players: the broker was Robert Mnuchin, an art collector himself, and the father of Steven Mnuchin, our current Treasury Secretary; the buyer, it has been revealed, is the hedge-fund billionaire, art collector and philanthropist, Steven A. Cohen, whose modernist and contemporary “trophy” pieces may someday furnish a private museum, probably in his home state of Connecticut.

The staggering amounts of money being invested by the 1% in this story cannot fail to appall and aggrieve those of us who see Koons as a kind of huckster in the Trumpian vein; as well as a descendant of the Pop artist Andy Warhol—now the subject of a large retrospective at San Francisco Museum of Art—and, before him, the New York Dadaist and proto-conceptualist Marcel Duchamp. Their joint legacy that art can be, respectively, whatever sells and whatever the artist decides have had a liberating effect on artists, but not one without the downside of making the market values (and public relations, fashion, and advertising) the drivers of the art world, not aesthetic quality. Que sera sera, we might sing, in honor of the late Doris Day.

My low opinion of Koons falls decidedly into the grumpy-codger Robert Hughes vein. Scott quotes him: “He has the slimy assurance of a blow-dried Baptist selling swamp acres in Florida... [Y]ou can’t imagine America’s singularly depraved culture with out him.” Yet she concludes that he is both expensive and great. Kirk Varnedoe, the art historian and MOMA curator, wrote in Artforum in 2003 (again, cited by Scott): “It seemed to me instantly, by involuntary reflex—and it still does by long reflection—that this bunny is one of those very rare hits at the exact center of the target.” Scott continues: “It became an icon of eighties excess (and thus, of white male privilege): fuck like bunnies, make more money, the one with the most toys wins.” It sounds a bit like Arthur Danto’s for-me dubious epiphany of The Brillo Boxes, frankly. Alexander Rotter, a Christie’s executive, went “even a step further.” Here he is, quoted in a Japan Times Culture/Entertainment article:

 Rotter said the sculpture is the antithesis of “the perfect man,” Michelangelo’s “David,” which was “carved by one of the greatest artists of all time with a chisel, out of one block of the purest white marble.’ “It’s the end of sculpture. It’s the anti-‘David,’ as I call it,” he said, referring to Michelangelo’s masterpiece. “You can’t go any further away from ‘David,’ still being figurative and a traditional sculpture.”

 It’s a telling comment, clever in its false-equivalency logic: Koons = Michelangelo, just with the polarities reversed. It does, however, reveal something about our anitheroic, cynical, even subservient era, when even young idealists have been socialized by postmodernism into bitter knowingness and impotence. Sir Kenneth Clark, in his BBC series Civilisation, remarked that great art like that of the Florentine Renaissance comes from periods of cultural confidence. The postmodernist riposte to this would be a catalogue of the crimes of all civilizations, including the moribund American empire, with its dirty laundry now triumphantly aired by the liberal professoriate. There’s no question but that the western liberal democracies have sinned, and often faltered, but can art and civilization be saved from the alternative to humanism, the brain-dead worship of money and might, wedded to theocratic fantasies, before the world ends with a nuclear bang or an environmental-collapse whimper? Is our late-capitalist decadence still amusing, really? I used to mock the phrase ‘late capitalist,’ in the simpler times of the triumphalist post-USSR 1990s, when we thought it safe to fantasize.—DeWitt Cheng

Stas Orlovksi at Traywick Contemporary

Subjective Objects

Stas Orlovski is a Los Angeles artist who employs subtle palettes to produce effects far beyond the relatively modest size of his works. He assembles wind, wave and water patterns from Japanese woodcuts; flora and fauna from Victorian books; and abstracted geometric figures from Russian Suprematism to create small theaters or filmscreens replete with birds, butterflies, moons, forests, and fragmented statues, (especially balloon-shaped featureless heads). Comparisons with Paul Klee and Joseph Cornell come to mind, but also with Dadaist/Surrealist collagists like Max Ernst, Bruce Conner and Lawrence Jordan. With the current show, обjект, the artist continues to expand beyond drawing, painting, printmaking and collage into animations projected onto his sculptures, continuing the cinematic turn of his earlier work, Troika, in 2016; like William Kentridge and Tony Oursler, he enlists 21st century technology to pursue his vision, transforming an “iconography of nostalgia” into compelling “dream-like objects.”

 обjект is a hybridized English-Cyrillic spelling of ‘object,’ and hybridization is the theme here, with drawings and ‘illuminated’ sculptures, sometimes of the same motif, engaged in dialogue. “Feet With Flags” is a sepia-toned ink drawing of two mannequin feet set atop a shelf or pedestal and outfitted with blank flags, one rectangular, one triangular, both blown forward, as if by a tailwind. A sculpture of the same feet probably predates the drawing; amplifying the absurdity of these obedient marching metonyms is the fluttering cloth projected on the flags. The antique mannequin torso of “Figure with Suprematist Composition” has a hollowed-out abdomen in which we see jostling geometric forms, like the battling Whites and Reds of revolutionary Russia as represented abstractly, briefly, in contemporaneous political posters. Also shown are four of Orlovsky’s Arp-like heads, two painted and two sculpted and enriched with projections; and a half-dozen landscapes of the artist’s inner world projected on the outer. A large Orlovski installation is coming to San Jose Institute of Contemporary Art in November. обjект runs through May 25; Traywick Contemporary, Berkeley, Thu-Sat 10--4  and by appointment (510) 527-1214; traywick.com. —DeWitt Cheng