Time has come to bid farewell to New York and head back north to cooler, less intense climes. But not before tacking up a couple of notes on art stuff. This is a subject that I am singularly unqualified to comment on, which makes it that much easier to say what I think.
Jackson Pollock: somewhere in that dizzying tangle of glue and latex, string, tequila bubble gum and manic depressive paint is the intersection of Art for Art’s Sake and Art for the Sake of 140 million clams. Or dollars. I want to stand on that corner with a paper cup in my hand and a sign hanging around my neck that reads “Will splatter for food.” Or maybe “Will splatter for fud.” Seems more artistic that way don’t it?
MOMA has a room of this stuff and you emerge feeling gut wrenched, excited or just pissed off that some bald philandering finger-painter who got drunk one afternoon and wrapped his Oldsmobile, and his girlfriend, around a tree (all too the ultimate benefit of the wife) gets that much attention. All depends on your disposition, or maybe whether you got a drink at lunch or instead had to attack the afternoon from a platform of splintered sobriety.
Can’t remember much else from MOMA except the Bell H-13 helicopter they have parked high above the lobby. Sitting under it, if you look straight up and quietly hum the theme to MASH, you can almost smell Alan Alda’s aftershave. An experience of limited appeal, I’ll grant you.
Then there’s the Met, where they have an entire Egyptian temple for God’s sake, not to mention some French guy’s living room from 1920 (rather dark and over-wrought, who saw that coming?) and half an Andalusian villa (lovely marble balustrades). God bless America. All that money. My favorite thing in the Met has to be the little collection of Brassai’s black and white photos of French hookers from the 1930s. Who doesn’t have a soft spot for that stuff? It’s like paintings of Elvis, or little brass cowboys being bucked off little brass horses. Classic.
The ICP has photographs by a drowning Japanese man—I mean, they really make you wonder how they recovered the film. Go to the website. You’ll see what I mean. Some photos of exploding limestone, a class picture in which every student is the same model and a very peculiar video that involves elephants, elephant shit and ventriloquism. After which you can presume yourself to be up to date on the state of Japanese art photography.
And finally the Guggenheim: that Frank Lloyd Wright thing that looks like the inside of a soft-serve ice cream cone. I think it’s more like climbing up the inside of a long coil of dog shit, but fine, if that’s your thing then that’s your thing, but it takes a little getting used to. There’s a fantastic room full of Kandisky there. You emerge shaking your head and wondering what those crazy Russians are going to think of next. The main attraction these days, however, is a an exhibition of the life’s work of Louise Bourgeois—yes she of the giant world spanning spiders. Nothing scarier than a crazy ninety-something year-old French lady who owns a herd of spiders each the size of a two-story bungalow. Well, maybe a balding finger-painter with too much red wine in him behind the wheel of a giant green convertible.