In addition to Levinthal and the Initial Public Offering shows, San José also had a traveling show from the Whitney which focused on the Emily Fisher Landau collection. I’ve been increasingly blah on collector-centric shows as they’ve all started to look the same to me: decent art surveys which make sure to hit all the big names in a collect-them-all fashion but never say anything about the collector beyond thanking them for donating the collection to the museum. Oh, and there’s often a nice cushy catalog with the donor’s name in big letters on the cover.
The better examples at least have nice samples from all the big-name artists. The best examples have multiple nice samples from those artists so you can really learn about them.
The Landau collection is one of the better examples in that it’s a bit collect on of each but manages to choose a good sample of each artist.
Still. It’s hard to do a writeup for this kind of show. So as with the Initial Public Offering show, this is just what caught my eye.
It’s also nice to see a few Peter Hujars in the flesh. I need to look at more of his work.
And Rodney Graham’s large upside down photo print emulating the camera obscura experience is an interesting idea. It’s not as magical as a true camera obscura but it does suggest a bit of the same change in our relationship with the image subject that a camera obscura or view camera can produce.
Glenn Ligon’s piece about profiling is disturbingly, depressingly, still relevant today.
I noticed that Jasper Johns’s flags in 1973 have 50 stars (they didn’t in 1968) and now I’m wondering if the change was intentional.*
*Note: Hawaii became a state in 1959.
And between the Hujar photos, Haring print, and Wojnarowicz collage, I started to realize how brief but intense the AIDS epidemic was.* I grew up during it so it was just always there for me.* Now, three decades later, it’s become apparent that there’s maybe a decade of art which reflects the fear and loss and despair and confusion of the disease as it rampaged through the art community and the gay community.
*I’m using past tense here because I’m really talking about the period of time when the disease was pretty much a death sentence in the West and we were just figuring out what it was and how it infected people. It’s obviously still an epidemic in parts of the world from an infection point of view. But it’s no longer the death sentence it used to be and I don’t get the sense that we, culturally, are as scared of it like we were then.
There’s something both dated and uniquely raw about the AIDS artwork. For as much stuff as was going on in the world over the decades covered in this collection, a lot of the art just ignores it and focuses only on the art world. This is not a criticism, just an observation. The AIDS-related works are one of the few cases where the art confronts and reacts to world events. It’s also extremely personal and it’s still very powerful to see art where the artist is reacting so viscerally to what’s going on.
At the same time. Yeah. We no longer care about AIDS the way we did then. It’s still something to fear. But it’s a different fear than it used to be and as a result, the art feels dated since we’ve moved on to other causes.* I can see already how I’m going to have to explain to my kids how things were when I was growing up.
*Compared to the Ligon piece I mentioned earlier which is also personally reacting to current events but which reflects a situation we’ve not made any clear progress on improving. So his piece feels not just fresh and relevant, but disturbingly so.