Art science?

I am not an art historian, nor do I play one on TV, but I have enough hubris to offer the following note about a recent visit to the MOMA to see the exhibit, "Matisse: Radical Invention."

The focus of the show is on paintings that Matisse made between 1913 and 1917 and that were received poorly at the time. The exhibition offers an argument for how and why the paintings were "radical invention" in their time, marking new direction not only in Matisse's work, but also the work of other painters.

What especially interested StraightMan and me was that this re-interpretation of the paintings is based in part on the use of imaging technologies (like X-ray) to trace - or rather, reconstruct - Matisse's process. What did he do to make these paintings, and what likely was he thinking about when he made particular choices (including repainting portions of his canvases)?

As cultural anthropologists, we are partial to "process." It is also a radical invention itself, I think, to apply imaging technologies to "art." Yet, I also wonder whether or not this might be another sign of the "scientization" or "technologization" of yet another arena of thought and experience.

I am not for mystifying art as ahistorical "genius" - I find explanations of literature and art in terms of their structures to be robust: I am not alone in thinking that Pride and Prejudice is interesting not because of the players, but because of the rules of the game itself.

Yet, I also wonder at the significance with which imaging technologies are greeted as giving us the "truth" about Matisse.

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Pet peeve: Museum goers, put down the phones and the devices transmitting your "audio tour," and just look at what is in front of you.

Because this is what I feel that you are missing, as described by short story writer Deborah Eisenberg (whose Collected Stories is reviewed in the August 16 / 23 issue of The Nation):

Looking at a painting takes a certain composure, a certain resolve, but when you really do look at one it can be like a door swinging open, a sensation, however brief, of vaulting freedom. It's as if, for a moment, you were a different person, with different eyes and different capacities and a different history - a sensation, really, that's a lot like hope.

The tide is high

Enjoyed the opportunity this past weekend to celebrate my 40th birthday (!) with a whirlwind visit to the city, which I called my home in my 20s. I am happy to report that as good as my 20s were, I am glad to be where I am now, metaphorically and literally. Midlife need not be a crisis.

I figure this is not a bad start to the next half of my life :)

However - and you knew that this was coming - there are more than enough crises brewing around us. Climate change is one, with attendant other crises like the rising of sea levels.

The Museum of Modern Art currently has an exhibition called Rising Currents: Projects for New York's Waterfront that I highly recommend viewing.

Five interdisciplinary teams were assigned to design projects for five sites around New York City, including lower Manhattan. The projects addressed ecology / environment in terms of biological, social, and economic concerns - an approach that an anthropologist might call holistic. They considered humans, other animals, plants, water, and other elements. They considered history and future.

Here is a link to the Rising Currents blog.

Still recalling the fresh taste of Wellfleet in my mouth, I have to say, I found a favorite in the Zone 4 oyster-tecture project.

Here is a link to a Bloomberg new service report on oyster-tecture.

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As an aside, visiting the MOMA, along with visits this summer to the Clark Art Institute and the Corning Museum of Glass, reminded me that the role of museums is not only to preserve the past (even were that possible to do in the first place).

Museums provide us with spaces (and times) where we can imagine. That is the delight and thrill that I first experienced when my parents took me, as a grade schooler, to the American Museum of Natural History - I liked looking at the gems - and the Metropolitan Museum of Art - I liked the arms and armament, the musical instruments, and the rooms of period furniture.

Some parents instill in their kids a love of sport or craft or the great outdoors. Not being athletic or skillful myself, I suppose I might be handing along, at least, a love of museums and the recognition that they ought to be places where possibilities become re-presented to us (and not just go there to die)...

I think E.L. Konigsburg captured what is wonderful about museums so well in a book that I especially loved at that age, From the Mixed-up Files of Mrs. Basil E. Frankweiler, which I plan to share with Beanie. When she is finished reading that classic horse tale, Misty of Chincoteague.