I Dare You to Touch The Paintings

Thank you Onion, for "Struggling Museum Now Allowing Patrons To Touch Paintings," and happy Tuesday!

Meaty Topics: Bacon Retrospective at the Met

Head III, 1949

After some anticipation and debate about whether he was that good, I went to see the Frances Bacon exhibition at the Metropolitan Museum of Art. First answer, yes! He's that good. What he does in terms of color and composition in his better works is great.

Three Figures in a Room, 1964

All Bacon's paintings are visually arresting, and tend to remain interesting beyond any initial shock value. Maybe one's value range for horror shrinks when you go into room after room of screaming popes, carcasses, and melting face portraits because I ceased thinking about the subject matter with revulsion. Well, a few still jolted me. Some of the pictures (often his more well-known pieces) left me flat. Perhaps it's something about the nature of his paintings: that when one works, it really gets you, but when it fails and leaves you flat, you have to struggle to see why those flat planes of garish color, those undrawn fragments whose only lines entrap people, and that vacuous, repetitive sense of horror could ever move someone.

Head VI, 1949

In the middle of the exhibition, I wondered if Francis Bacon could paint. The obvious answer is yes, but it's also a less obvious answer when you look at his beginnings. Bacon was self-taught, and he worked with a lot of art historical images. Taking images like Velasquez's portrait of Pope Innocent X, Bacon ripped apart and painted these images again and again. And he kept doing 'studies' as if he was merely practicing. I rather think he was. He said later in his life that he wished he hadn't wasted so much of his youth in gaming and drinking because it had kept him from his painting. When I got to the last room of the chronological exhibition, I saw what he meant. Here were some beautiful works. Paintings that made me stop in my tracks.

Jet of Water, 1988

In his later paintings, done when the artist was in his 80s, you still see the amazing use of color with no fear and more balance that you might suspect. His composition, which for the most part had always been sophisticated--if only because he was aping the greats to get it--becomes sparser, apparently influenced by Modernism. In some ways, Bacon was both an early and a late bloomer. He was talented and always created stunning works in a visual vocabulary distinctly his own (perhaps his distinctiveness came not only from a unique outlook but a self-created technique) yet later he grew into a really accomplished painter as well.

Blood on Pavement, 1988

Met's "Boyish" New Director

The retirement of Phillipe de Montebello, former director and CEO of the Metropolitan Museum of Art, led to the dark horse appointment of Thomas Campbell, right, whom the Economist in a recent interview describes accurately enough as "boyish" at least compared to the patrician Montebello.

In the interview, he seems like a charming and down-to-earth person, and I like that he has a strong background in art history and passion for the arts. The movement to make art more accessible to everyone often means pandering to popular tastes and dumming things down rather than explaining how something came about and why it is remarkable and beautiful. So bravo on that front.

Mr. Campbell apparently does have some some forward-thinking plans, despite the mothballs clinging to him from his forays in the archives. He plans to archive the whole collection of the Met online. Bravo again, and I know just how I would like to see it done.

The collection ought to be archived in the manner of the Rijksmuseum, whose website is a master of its type. The history and details provided about the painting are well-presented, it's easy to navigate, and the connections it draws between paintings is an art history education in itself. There are my 2 cents, Mr. Campbell.

I hope Mr. Campbell does do well, if only because at a mere 46 years of age, he could have a tenureship as long as Montebello's as head of the museum.

New York City Art Museums on the Cheap

I can claim expertise in few things, but how to view art on the cheap is something at which I excel. With the right timing and a flexible schedule, you don't need to pay oodles to see the museums of New York City.

Below are the how-tos to seeing some of the greatest works of art in the world. Whatever your taste, these eight New York City museums are easy and fun to visit on the cheap. Note that listed prices are for adults; admission for students, seniors, and children often has a discounted price.

First, let's hit the "majors," which should be part of any cultural enthusiast's outings in New York City.

1. The Metropolitan Museum of Art (1000 Fifth Avenue)
The Met lists a suggested ticket price of $20 dollars. A suggestion is not a price. They accept as little as a dollar, and then you're in to see this behemoth's grand cultural offerings, ranging from Egyptian pyramids to African reed boats to European portraits. They also have constantly changing exhibitions, which are included with the price of admission.

2. The Museum of Modern Art (11 West 53 Street)
MoMA will cost you $20 as well, unless you go on Friday nights. On Fridays between 4 pm and 8 pm, Target hosts a free night at the preeminent museum of modern and contemporary art. An additional great secret: movie tickets are free with admission. I've picked up tickets for an 8:30 film, and seen everything from John Waters' Pink Flamingos to classics of German avant-garde cinema. Beware the crowds, however.

3. Solomon R. Guggenheim Museum (1071 Fifth Avenue)
Is seeing the interior of the newly-restored Frank Lloyd Wright building worth $18? The Guggenheim certainly has great exhibitions of contemporary art right now. However, this private museum is not cheapskate-friendly. If you're going to pay, you should check their events calendar to make sure you time your trip to coincide with one of their lectures or, even better, go to their Art after Dark program where they have DJs until 1 am.

These big stars are definitely worth a visit, but the city has other outstanding art museums that are well worth your time.

4. Whitney Museum of American Art (945 Madison Avenue)
Fifteen dollars will give you access to the Whitney's collection of 20th century American art and exhibitions of American artists past and present, such as Kara Walker and William Eggleston. Like so many on this list, the Whitney also has a Friday night pay-what-you-wish program from 6 to 9 pm. The Whitney goes a step beyond the other museums by making the free night a fun event with live music and other innovative performance arts.

5. The Frick Collection (1 E. 70th St.)
Admittedly a narrow time slot, but from 11 am to 1 pm on Sundays, you can visit the Frick for free instead of for $15. Often overlooked compared to bigger museums, this little jewel of a collection has remained in the mansion of turn-of the century business tycoon Henry Frick since he bequeathed it to the public. It contains masterpieces of Western painting and sculpture.

6. New Musuem (235 Bowery)
The New Museum houses contemporary art in a brand new building downtown, making it a great stop if you're in the area. At $12, this is a relatively cheap dose of contemporary culture. However, if you're in the the area on a Thursday night, stop in between 7 and 10 pm to mingle with a young, hipster crowd and see the works of artists artists such as Elizabeth Peyton and Mary Hielman.

7. Brooklyn Museum of Art (200 Eastern Parkway)
This museum has a diverse collection and is easily accessible from Manhattan. The suggested donation price is $8. As I mentioned in regard to the Met, a suggestion means you can pay what you wish. In addition, on the first Saturday of the month, BMA hosts a free night of art and entertainment, which often includes dancing to live music in its atrium. It exhibits art from across the globe, and has an excellent center of feminist art that features Judith Chicago's Dinner Party.

8. American Folk Art Museum (45 West 53rd Street)
Admission is a reasonable $9 to see this under-visited museum's collection of paintings and textiles from America's earliest days to the present. However, if you visit on Friday evenings between 5:30 and 7:30 pm you can listen to live music in the atrium and explore the galleries for free.

If you want your culture fix cheap, New York City offers many options at its museums. In addition, galleries have openings throughout the year, where new works of an artists are shown on an intimate scale. These free openings are fun not only because you can see new works, but because of free drinks and great people-watching. Artcards is a great site to check for new openings and events. With a little forethought, you can see all the art you want on a reasonable budget.

(Originally published December 07, 2008 in Blogcritics Magazine)

Excuse my language (and blame the Met)

but the Met has discovered the orginal 'dickhead'. As I said, excuse the language. But it's not my language, it's on this plate. Look closely at the head.

This Renaissance Italian plate from 1536 is inscribed:

OGNI HOMO ME GUARDA COME FOSSE UNA TESTA DE CAZI
(Every man looks at me as if I were a dickhead).

Part of the exhibition Art and Love in Renaissance Italy, this example makes me wonder what exactly the curators are trying to communicate about love. The rest of the exhibition is safer, with some more stereotypical Venus and Cupid paintings and less phallic ceramics.

I would speculate that there are some angry females on the staff at the Met, except really, when else could you slip such an amusing piece into a show? Unless they devoted a show to phallic art, and goodness knows with all those Greek vases there is more than enough material. It makes me wonder what else the Met have stored in dusty corners of their warehouses.

Opera Review: Salome

Salome is not like those gay Italian (soap) operas, nor those dramatic Wagnerian pieces. A short 1 hour and 40 minutes, this Biblical tragedy told in a Modern way has a minimalist score that evokes a single consciousness, Salome's. Salome dances for Herod to obtain Joachanon's head on a silver platter.

Salome as a character really came through in this production, as the soprano Karita Mattila infused her gesture with a childish impatience and a spoiled teenager's demanding attitude. Altogether, an interesting and odd piece, maybe a bit limited in scope. It becomes whatever the soprano can make of it, most likely. An fascinating story psycholigically and one containing great extremes, it lends itself to opera.

Let me just say for my part--I had been up since 5 AM. I wanted to listen to every second, but--to the amusement of my boyfriend--I did not catch some of the middle. I was, however, completely awake when Salome was singing to the head. That part held some of the most beautiful moments, if a little twisted due to the perversity of the plot. Overall, Wilde would have appreciated the modern and functional stage design.

Nitpicks:

• The black-winged creatures on the far right of the stage were a little hokey.
  
• Opera singers are not burlesque dancers. Although I imagine that Mattila's young and energetic performance would bedazzle most, and the flash of full nudity was nicely done, it was the clumsiest striptease I've ever seen. The only one I've ever seen to Strauss though.
  
• The Dance of the Seven Veils is not a misnomer. Use veils!
  
• The end, where Herod orders Salome's execution, was underwhelming. I was hoping she would be rushed by the black monkey creatures, like in The Wizard of Oz.
  
  

Overall, I love going to the Met. It feels like such an event every time. I liked, but did not love, Salome.

Salome (A Wilde History)

In anticipation of tonight's opera at the Met, I am going to tell you a secret about me: I am in love with a dead gay man. It's true; Oscar Wilde has been the man in my life long before I had a man. He wrote a biblical tragedy of all things, this decadent fop. Then Strauss turned his Salome into an opera, and that is what I am going to see tonight.

1) A Play by Oscar Wilde

Oscar Wilde wrote Salome in 1891 in French, and an English translation came out in 1894. (Translated by Wilde, not his no good lover Bosie despite the fact the Wilde still gave him credit in the Dedication.) The play tells in one act the Biblical story of Salome, stepdaughter of Herod, who, to her stepfather's dismay but to the delight of her mother Herodias, requests the head of Jokanaan (John the Baptist) on a silver platter as a reward for dancing the Dance of the Seven Veils. Rehearsals for the play's debut in London began, only to be banned. The play eventually premiered in Paris in 1896, but by then Wilde was in prison.

2) Illustrations by Aubrey Beardsley

An outrageously talented artist, Aubrey Beardsely had already been greatly influential prior to his death at age 26. In 1891, at age 18, he met Wilde, who was in the process of writing Salome. Wilde asked Beardsley to illustrate the English version. He was a prefect choice for both the play and for Wilde.

Beardsley "developed a perverse and playfully theatrical style partly inspired by Greek vase painting. The venomous elegance of his drawings has an ornamental rhythm akin to the abstract decorations of Islamic palaces. For Salome, Beardsley ironically appropriated the decadent theme of the evil, emasculating woman." (From Michael Gibson, Symbolism)
Wilde, on Beardsley's muse: as having "moods of terrible laughter"

3) An Opera by Strauss

Those in the know (and I am not referring to myself), argue that Strauss's Salome is the first "modern" opera and his first major operatic success. Richard Strauss composed it in 1904, and wrote the libretto as well, in German. The opera's music is supposed to be gripping–-relating the themes of perversion, evil, and cruelty.

In Production:

The New York Times had a favorable review of the Met’s production and especially of the singer in the role of Salome. The closer it is to Wilde’s original version, and to Beardsley’s striking vision, the happier I will be.

My esteemed father would like to add that, in his opinion, nobody over 50 years of age or 250 pounds should attempt the Dance of the Seven Veils.