It operates as a refuge for a civilizing element in short supply in contemporary America: honest criticism
On "Go F!GURE: Contemporary Chinese Portraiture” at the National Portrait Gallery, Canberra, Australia.
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"GO F!GURE” means go figure it out, for this exhibition is not so much one of portraiture in the conventional sense, as of Chinese figures, the human form as depicted by contemporary Chinese artists in painting, photography, sculpture, and video. The curators are to be congratulated on the skill with which they have selected and displayed these varied works.
One pleasing feature of the exhibition is the indirect mockery of the rule of the Chinese communist party and of the icons of its Maoist origins. The grotesque sculpture Cadre by Keping Wang is carved from a piece of found wood, using the grain to shape the nose and indicate the eyes. It is a portrait of an utterly anonymous party official, who has no face with which to express feeling, and no mouth with which to utter an opinion of his own. Just as irreverent is Xuan Kan’s video Chorus, which stars two sets of toes, each toe ...
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This article originally appeared in The New Criterion, Volume 31 February 2013, on page 46
Copyright © 2014 The New Criterion | www.newcriterion.comhttp://www.newcriterion.com/articles.cfm/Exhibition-note-7553
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On "Turner and the Sea” at the National Maritime Museum, Greenwich, London
On "Georgians Revealed: Life, Style, and the Making of Modern Britain” at the British Library, London and "Only in England: Photographs by Tony Ray-Jones and Martin Parr” at the Science Museum, London
by Eric Gibson
On “Jeff Koons: A Retrospective” at the Whitney Museum of American Art.
by Karen Wilkin
On the renovated Sterling and Francine Clark Art Institute and its two inaugural exhibitions, “Cast for Eternity: Ancient Ritual Bronzes” and “Raw Color: The Circles of David Smith.”
The Walter Duranty Prize for Journalistic Mendacity
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