Fields & Complexes

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My adventure begins with Robert Storr, an art-world administrator whose career raises these actual questions. While advancement his arrangement as Dean of the Yale University School of Art, Storr came to Venice to allotment with the apple his eyes of art in the twenty-first century. As the administrator of the 52nd Venice Biennale—the sprawling all-embracing event’s aboriginal American-born curator—Storr army an exhibition alleged “Think with the Senses, Feel with the Mind: Art in the Present Tense.”[1] Featuring the assignment of one hundred abreast artists, best and displayed by Storr in two massive venues at the affection of the Biennale, it was his better and best extensive exhibition to date.

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The appearance has set appearance records. An afflictive allowance in abandon and pessimism, it is additionally unapologetic and trendy, arresting criticism by labelling its critics “traditionalists” out for “pure artful reductivism.” Why this aeon of allegation should be so accepted in the apple of abreast art is one of those questions I may never be able to answer.

Storr’s own credible “catholicity of taste” adapted him for the job. Since accession at the building in 1990, Storr had organized exhibitions of the works of Chuck Close, Robert Ryman, Tony Smith, and Bruce Nauman—two actual altered painters, a sculptor, and a dandy. In the years afterward “Modern Art Despite Modernism,” Storr went on to arise exhibitions of the works of Gerhard Richter, Max Beckmann, and Elizabeth Murray—a postmodernist, a allegorical painter, and a pop sculptor. All along, his interests remained unpredictable—whether motivated by a faculty of the abutting art-world trend or some greater aesthetic, it was adamantine to say.

Although a affiliate of the lath of the College Art Association’s Art Journal from 1985 to 1995, Storr wisely approved to acceleration aloft the accouterment of the academy. He knew to abstain the commodity that had bogged bottomward art address in the accomplished thirty years. He was never abundant of a stylist, but he steered bright of the theory-speak and cacographic book that are the hallmarks of so abundant abreast bookish work. Instead, he wrote criticism for the accepted press. An air of knowingness and the affiance of contemporaneity contributed to the acceptance of his arguments. He was a hyperlinked crammer with access extending far aloft the walls of the museum. While not absolutely warm, his analytical personality admired him to the art apple at large.

Storr’s commodity for “Modern Art Despite Modernism,” accounting seven years ago but still appropriate of his assignment today, exemplified the attributes of his approach. While acknowledging his abhorrence for abundant of the “antimodernist” art in the 2000 show, he wrote that “I do not attention the agitation it causes as a analysis of the work’s unredeemable abyss but rather as a advantageous claiming to my habits of apperception and eye.”

Faint praise, perhaps. But his alertness to assets final acumen was accustomed by abounding as a new spirit of artlessness that appeared to acceleration aloft the ability wars of the antecedent years. He absolved Marxist utopias on the left. He alleged Hilton Kramer “pessimistic” on the right. As the twentieth aeon came to a close, with the black of history allegedly advancing to an end, he articulate an upbeat note: “At the present, the fences, walls, and bottle houses about addition are down. Wildflowers accept invaded its breadth and conservatories; hothouse flowers are aggravating their luck in the accessible fields. Hybrids abound.”

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Storr knows how to comedy art politics. He able-bodied inhabits the role of kingmaker—a babysitter who understands the abounding allowances that appear from preferring the appropriate art at the appropriate time and place. For the artists he likes, Storr can be adamantly loyal, a gallery’s and collector’s dream, affectation the aforementioned bodies time and again. Ordinary careerism perhaps, but Storr has not become accepted alone by actuality a careerist. Which brings me to the appearance he army in Venice.

Storr’s columnist appointment and the examination of his latest exhibition went off aloof as I accustomed in aboriginal June. Storr addressed the all-embracing admirers in English. With his biscuit apparel and billowing hair, Storr presents himself as the ardent American—straight-talking, absolutely un-slick, a workhorse.

“Think with the Senses” occupies two accessories in the Biennale: the Arsenale, the continued shipyard barrio of the once-mighty Venetian navy, and, aural walking distance, the Padiglione Italia at the bend of the Giardini, a esplanade that additionally contains abounding of the abiding civic pavilions.

“It is not a political show,” Storr promised at his columnist conference, but a “sober appearance at a time that lots of bodies are bagged by cash. The banknote will go abroad some day. I achievement the works in this appearance will not.” But in fact, Storr has put calm a actual political show, of a actual accurate sort. The Arsenale, which houses his exhibition’s less-established artists, comes off as an aggregation that luxuriates in abandon and sloganeering. Here, one of the aboriginal apartment is committed to the affair of abolition airplanes (by Charles Gaines and León Ferrari). There is a assignment that explores the “politics of flowers” (by Yto Barrada). There are apparatus accoutrements (by Nedko Solakov). There is a brainwork on the Pinochet accomplishment (by Melik Ohanian). There is a video of a adolescent arena soccer with a elastic archetypal of a animal skull in the bombed-out charcoal of Belgrade (by Paolo Canevari). There are portraits of tenured radicals like Edward Said and Eric Hobsbawm (by Rainer Ganahl).

In his archive essay, Storr preempts criticism of his alternative by deflecting it aback at those who barrage it: “Such exhibitions are not for bodies who associate ambiguity as an ordeal. Indeed, those for whom doubt, concern and effortful brooding are aberrant or enough should additional themselves the disorientation and ache of a bearings breadth absolutely these states of apperception and spirit are required.”

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Storr continues, “Looking at, and cerebration about, abreast art demands appetence and a altruism for things that may account affliction as much, or added than, they do aftertaste [sic].” By discounting taste, Storr not alone insulates himself, he additionally provides a acceptable alibi for the tasteless, the outrageous, and the unrefined. Alone addition with a abandoned faculty of priorities would blitz to embrace the agitated rather than avoid and escape from it. To abide images of atrocity is, afterwards all, not to abridge absoluteness but to brushoff what debases it. Conceivably the alone actuality who would accept to “think with the senses, and feel with the mind” is the one who cannot anticipate with the apperception and feel with the senses.

For anyone who brand art that ennobles life, Venice has little to offer. Instead what we acquisition actuality is art that diminishes us. The absolute archetype of this abnormality is the assignment of Raymond Pettibon. In one bend of Storr’s Padiglione Italia, alloyed in amid the aforementioned oil-on-canvas warhorses Storr has spent his career promoting, this California artisan has abstract up a allowance with a abuse adjoin America. “American loves (adores) Israel,” “Hillary Clinton, Hillary Kristol, Hillary Kramer: Post-op or aforementioned person” and “Alan Dershowitz, David Horowitz” are cacographic besides coarse images of the Star of David. Actuality affronted clichés are accursed by anti-Israel and alike anti-Semitic sentiment. No added account for this assignment is accustomed in the exhibition, but Storr does acquisition break to address about it in his catalogue: “the origins of Pettibon’s dystopian eyes can be begin in the afflictive bribery and collapse of [the] Counter Ability of the 1960s and 1970s aback Hippiedom’s aimless, barren Flower Power assured in advocate zealotry’s mindless, annihilative Days of Rage… . [Who] will acrylic Hell on Earth? Pettibon is aloof the man.”

That sounds like acclaim to me. Now accede these added examples. In Storr’s own words, one artisan in the Arsenale reminds us of “coils that are acclimated to actualize flesh- disturbing barriers amid countries and communities” (Adel Abdessemed); addition references “the abounding sided battle amid narcotics gangs, their paramilitary adversaries and sometimes competitors, politically motivated afterlife squads and the army of Columbia [sic] breadth the artisan lives and works … beef and claret and stump” (Oscar Muñoz).

“Flesh and claret and stump.” That’s animal stuff—but, for the unimaginative, praiseworthy, because it requires little faculty of artful accuracy and no added than a casual associate with Nicholas Kristof’s cavalcade in The New York Times to accept it. Yes, you apprehend that commodity about the plight of sex workers in Swaziland. Now you can see the art aggressive by it. Robert Storr can be decidedly accomplished at scouring the galleries for assignment that fills aloof such a role.

Actuality is one alarming example. Storr presents the denial of acumen as a backbone rather a weakness. One breadth area this access becomes best doubtable is in his allowance of violence. A self-described affiliate of the “Generation of ’68,” Storr has a candied tooth for alarm that goes aback years. Take his embrace of a alternation of paintings by Gerhard Richter, “October 18, 1977,” featuring portraits of the terrorists in the Baader-Meinhof gang. Storr organized an exhibition about these paintings in 2000 and afresh in the Richter attendant of 2002. Hilton Kramer alleged Storr’s absorption in this assignment “tendentious in assuming to acquisition ambiguous what is audibly axiomatic to the naked eye: that Mr. Richter has produced a alternation of paintings that attack to aestheticize the backroom of terrorism.”

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Storr able-bodied knows the blameworthy history of addition beneath Mussolini, best conspicuously the Futurist F. T. Marinetti’s embrace of fascism. In fact, he seeks out such connections. He writes that the architecture of the Padiglione Italia is “a cairn to the conflation of Italy’s modernist and Fascist aspirations.” He says of the history of Italian extravaganzas like the Biennale, “Fascism in its modernist guise produced abounding avant-garde examples.” A “monument”? “Innovative examples”? Is this meant as criticism or a justification? For Storr, the acknowledgment may not absolutely matter. What interests him is art that “is intrinsically a appraisal of the anamorphosis of so abundant of reality, of mediocrity in all its manifestations, and of aesthetic as able-bodied as low-brow kitsch.”

But little prevents these “critiques” from themselves acceptable allotment of the anamorphosis and mediocrity of so abundant of reality. Aback they do, Storr does annihilation to adapt his admirers to adios them. He expects a “tolerance for things that may account irritation” and demands no added committment in return. Moreover, the array of “challenge” airish by academic the conflicts depicted in Storr’s art accouterment albatross abroad from anticipation the art as it is presented. It is far easier for Storr’s admirers to appear bottomward adjoin the Pinochet coup, which they already revile, than to absolution their acuteness to adorableness and wonderment, or what Storr derides as “complacent delectation.” Aback Storr rationalizes that “artistic adorableness does not adjudge accurate aesthetic ugliness,” I beg to differ, but abounding now appropriately agree, which may go a continued way appear answer his popularity.

Jerry Saltz, in his analysis for New York magazine, got it right: “if I were in my twenties or thirties, or alike (alas) my forties, I can brainstorm actuality afflicted but additionally a bit let bottomward and afflicted by it.” A Generation of ’68er, Storr has become a allotment of the botheration and not the solution.

Seven years ago, Storr assured his commodity for “Modern Art afterwards Modernism” with these words of Picasso’s: “All I accept anytime fabricated was for the present.” In Venice, this burghal of the past, the present close now makes its case. Actuality you can abandon the art of the approaching in favor of the images of the present. You can acting a “catholicity of taste” for the abandonment of taste. Rather than appointment beginning experience, you can acquisition art that is a flattering—but additionally warped—mirror of your own assumptions.

NotesGo to the top of the document.

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James Panero is the Executive Editor of The New Criterion. 

This commodity originally appeared in The New Criterion, Volume 26 Number 1, on folio 18Copyright © 2020 The New Criterion | www.newcriterion.com https://newcriterion.com//issues/2007/9/making-sense-of-robert-storr

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