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Is Serota Dead in The...

Why Art Became Ugly

Under Destruction

ARTVIEWS

 

6 uneasy pieces

 
Rembrandt Van Rijn
Francis Bacon
Joseph Beuys
Robert Rauschenberg
Dieter Roth
Bruce Nauman
 

 by Monique Laurent

 

 

Rembrandt Van Rijn

The greatest artist of the Dutch school was Rembrandt van Rijn (1606-69).. He was a master of light and shadow whose paintings, drawings, and etchings made him a giant in the history of art. Rembrandt Harmenszoon van Rijn was influenced by the work of Caravaggio and was fascinated by the work of many other Italian artists. When Rembrandt became established as a painter, he began to teach and continued teaching art throughout his life.

In 1655, in his late period, 13 years after his so-called "Night Watch" (the accurate title is "The Shooting Company of Captain Frans Banning Cocq"), Rebrandt van Rijn painted "The Slaughtered Ox", a dark picture of an ox, slaughtered, the innards removed, a big corpse of meat and fat hanging in a room, as if crucified upside down. Apart from a woman in the background, hardly to be seen, there is nothing else in the room. Years before, he had already painted another work with the same title and motif, but very much different. In this early work it's a part of everyday-life, a woman is cleaning the floor, wiping the blood, with the ox's head in the foreground.

Like on that early oil painting, a slaughtered animal was already before to been seen on paintings of Dutch masters, but always as additional features of different main themes: marriages, seasons, rural life. On this painting by Rembrandt, in 1655, it's the very first time, that a dead animal, thought to serve as a human meal, is presented on its own as a work of art: a metaphor of death, sacrifice and human existence depending on a body to be fed. We don't know if his work caused a scandal, but it's true, that unlike many of his other paintings, it was totally unloved and people viewing it shaked their head
s.

 

 

 

Francis Bacon

 

"I myself and the life I've lived happen to be more profoundly curious than my work. Then sometimes, when I think about it, I'd prefer everything about my life to blow up after I die and disappear".  Francis Bacon

English painter of Irish birth. Francis Bacon came to London in 1925 and although he received no formal art training, he created a sensation in 1945 when he exhibited his Three Studies for Figures at the Base of a Crucifixion (London, Tate Gallery) at the Lefevre Gallery in London. His work was Expressionist in style, and his distorted human forms were unsettling. He developed his personal style and gloomy subject matter during the 1950s, when he achieved an international reputation. Aside from his unpleasant images of corrupt and disgusting humanity, Bacon deliberately subverted artistic conventions by using the triptych format of Renaissance altarpieces to show the evils of man, rather than the virtues of Christ. In Pope Innocent X he reworked a famous portrait by Velazquez into a screaming mask of angst."
 

 

 

 

 

How to Explain Paintings to a Dead Hare 1965

 


 

Joseph Beuys

 

Joseph Beuys, like many artists working in the 20th century, enlarged the scope of his work by incorporating materials from the outside world into his multiples, installations and performances. The choices, however, were not random and the materials were never neutral. Rather, Beuys viewed certain materials as having important associations with his past, and through repeated use they attained a personal symbolism. Other materials were viewed as having magical or therapeutic power both for Beuys and for the audience or viewer. Other metallic elements used by Beuys included: gold, associated with alchemy and myth; steel, which may symbolize hard reason; zinc, which can represent insulation; and silver, a counter metal to lead that represents conductivity.

Honey was first used by Beuys as a material in 1965 in his action How to Explain Paintings to a Dead Hare, in which he anointed his head with honey and gold. Honey not only has a connection with nourishment, but it also has a certain mystical quality. For example, according to Beuys, "in mythology, honey was regarded as a spiritual substance and bees were godly." He also viewed the organization of bees as very similar to the principles of socialism in that an end product is made through principles of cooperation and brotherhood.

 

 

 

        Robert Rauschenberg

 

American artist, b. Port Arthur, Tex. Rauschenberg studied with Josef Albers. In the late 1950s he came under the influence of Marcel Duchamp, and with his friend Jasper Johns. His enormously inventive paintings, combines, some of which incorporate silkscreen, include everyday images and objects and are executed in a loose, spontaneous style.

Rauschenberg’s angora goat is surrounded by a tire, is one of the most confounding sculptures of the 20th century. In his catalog essay for a retrospective, Alan Solomon wrote “the more we look at Monogram, the more we are faced with complexities of meaning.”
 

 

 

 

 

 

Monogram (1959)

 

 

 

 

 

 

 

 

 

   

Dieter Roth

"I hate it if I notice that I like something, if I am able to do something, so that I just have to repeat it, that it could become a habit. Then I stop immediately. Also if it threatens to become beautiful."

Roth drew on the similarity between chocolate and feces in appearance and no doubt saw his works as coming to fruition when they turned rancid. Shit Hare (1975), which embodies the organic process of decay, illustrates some of Roth’s subversive tendencies. Pressed into the shape of a chocolate Easter bunny, rabbit excrement reverses the viewer’s response, turning an initial attraction into revulsion. Ironically, the piece was commissioned by Daniel Spoerri’s Eat Art Gallery because Roth had been working with food. The maverick Roth, however, not wanting to deliver what was expected of him, instead presented food’s opposite. Having taught for a short period (1968–1971) at the Düsseldorf Art Academy, where Joseph Beuys was his colleague, Roth also saw the commission as an opportunity for a biting commentary on the artist-prophet.

For Roth, food and other organic materials were a way to defy established categories and frustrate those who wished to nail down his work and his identity. He did, after all, refer to museums as “funeral homes,” implying that once art was in a museum, it was on its way to burial in the archives of history

 

 

 

          Bruce Nauman

Born in 1941 in Fort Wayne, Indiana, Bruce Nauman has been recognized since the early 1970s as one of the most innovative and provocative of America’s contemporary artists. Nauman finds inspiration in the activities, speech, and materials of everyday life. Confronted with “What to do?” in his studio had the simple but profound realization that “If I was an artist and I was in the studio, then whatever I was doing in the studio must be art. At this point art became more of an activity and less of a product. A survey of his diverse output demonstrates the alternately political, prosaic,and crass methods by which Nauman examines life in all its gory details, mapping the human arc between life and death.

 

 

 

        

 

Bruce Nauman, Dog biting its Ass, 1989, polyurethane foam, glue and wire.
 

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