ArtJuly 2003 Suprematism at the New! Improved! Guggenheim by Mario Naves Mario Naves alights on Kazimir Malevich, post-Barney.
The incongruity put forth by the Solomon R. Guggenheim Museum in
its recent overlapping of exhibitions devoted to Kazimir
Malevich (1878-1935), the pioneering Russian abstractionist, and Matthew
Barney, a pioneer in the public misuse of vaseline, has been much
remarked upon. The incongruity was so great that one would have to
to have undergone a staggering feat of self-restraint not to
comment upon it. Here, after all, are two figures who exemplify
the disparity between Modernism and Post-Modernism, high art and
popular culture, the Guggenheim as we have come to know it and
what used to be called the Museum for Nonobjective Art. One is
tempted to peg the museum’s current incarnation as the New!
Improved! Guggenheim because such terminology underscores how
thoroughly the institution has co-opted the methodologies of
commerce.
Such an approach may be fitting when applied to Barney, whose theatrical sensati ... This article is available to subscribers and for individual purchaseSubscribe to TNC (Print and Online editions) Subscribe to TNC (Online only) This article originally appeared in The New Criterion, Volume 21 July 2003, on page 0 Copyright © 2012 The New Criterion | www.newcriterion.com http://www.newcriterion.com/articles.cfm/suprematism-at-the-new-improved-guggenheim-1710
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by Mario Naves On "Maurizio Cattelan: All" at the Solomon R. Guggenheim Musuem, New York. by Karen Wilkin On “Rembrandt and Degas: Two Young Artists” at the Sterling and Francine Clark Art Institute, Williamstown, MA. On "New Formations: Czech Avant-Garde Art & Modern Glass from the Roy and Mary Cullen Collection” at the Museum of Fine Arts, Houston. On “Ai Weiwei: Dropping the Urn, Ceramic Work 5000 B.C.–A.D. 2010” at the Victoria & Albert Museum, London & “The Flamboyant Mr. Chinnery: An English Artist in India and China” at Asia House, London.
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