The crowd at the opening seemed like extras on a movie set. But that is what the art world these days is like. Someone my age muttered: This is why we are occupying Iraq. Most of the board of directors have seats on boards of corporations immeshed in the war. The new officers of the MOMA board have connections with Israel. Can MOMA allow artists to honestly assess the world situation? I guess that is why the other show that is up is cartoons.
Coming home on the subway the crowd was so different and so diverse and not at all the same people at the MOMA opening.
For another point of view go to http://artvent.blogspot.com/
The best sculpture idea I have seen recently was posted on e-flux: a proposal for a memorial to the Iraq War by Sam Durant.
by Donald Kuspit
"Titan of sculpture," we're told, comparable to -- no, greater than -- Michelangelo. Mentored by Jasper Johns, implying a "Greek hero-and-mentor myth," goes the story, suggesting the passing of the baton of avant-garde greatness from the older to the younger generation. (Serra is now 67; thus the truth of Adorno's wry view of the avant-garde as "aging youth.") Installing the works for the current Museum of Modern Art exhibition, he "looked a bit like a druid" in his "heavy olive-green coat with a hood pulled down over his head," implying that he's a high priest in the mystery religion of abstract art.
A clearly "dominating, master-of-all details personality," Serra is supposed to be greatest thing to hit sculpture since -- well, I already said Michelangelo, so how about the builders of the pyramids? They too are pompously Minimalist, their huge stones fitted together without mortar (like those of Machu Picchu, another favorite comparison of Serra fans) the way Serra's metal plates are held together by their own weight and careful placement, and thus in no need of binding solder. They too function as monumental architecture as well as autonomous sculpture. Both are self-contained yet inhabitable. People can move through Serra's curved sculptures, enveloped by them if not exactly interacting with them -- in the aftermath of the Tilted Arc disaster, Serra said "art is not for the people," but his giant sculptures seem to grudgingly acknowledge them -- and the huge pyramids house the bodies of dead people (Pharaohs, and thus more pretentious and presumptuous than the masses who visit the Serra exhibition).