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four years of this: tomorrow’s anti-trump art strike will miss the target
on hold: the met postpones drinking the art kool-aid
painting “the walk of shame”: the intimate art of an american master
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four years of this: tomorrow’s anti-trump art strike will miss the target https://blogofthecourtier.com/2017/01/19/four-years-of-this-tomorrows-anti-trump-art-strike-will-miss-the-target/
https://blogofthecourtier.com/2017/01/19/four-years-of-this-tomorrows-anti-trump-art-strike-will-miss-the-target/
william newton https://blogofthecourtier.com/author/wbdnewton/
2 comments https://blogofthecourtier.com/2017/01/19/four-years-of-this-tomorrows-anti-trump-art-strike-will-miss-the-target/#comments
an essay published yesterday in apollo http://www.apollo-magazine.com/trump-art-strike-social-role-of-art/
- https://blogofthecourtierdotcom.files.wordpress.com/2017/01/wp-1484836385503.jpg
on hold: the met postpones drinking the art kool-aid https://blogofthecourtier.com/2017/01/17/on-hold-the-met-postpones-drinking-the-art-kool-aid/
https://blogofthecourtier.com/2017/01/17/on-hold-the-met-postpones-drinking-the-art-kool-aid/
william newton https://blogofthecourtier.com/author/wbdnewton/
7 comments https://blogofthecourtier.com/2017/01/17/on-hold-the-met-postpones-drinking-the-art-kool-aid/#comments
will have to postpone the planned renovation and expansion https://www.nytimes.com/2017/01/11/arts/design/the-metropolitan-museum-will-delay-a-new-600-million-wing.html?_r=1
- https://blogofthecourtierdotcom.files.wordpress.com/2017/01/wp-1484662764606.jpg
painting “the walk of shame”: the intimate art of an american master https://blogofthecourtier.com/2017/01/12/painting-the-walk-of-shame-the-intimate-art-of-an-american-master/
https://blogofthecourtier.com/2017/01/12/painting-the-walk-of-shame-the-intimate-art-of-an-american-master/
william newton https://blogofthecourtier.com/author/wbdnewton/
4 comments https://blogofthecourtier.com/2017/01/12/painting-the-walk-of-shame-the-intimate-art-of-an-american-master/#comments
my very first piece for the federalist https://thefederalist.com/2015/10/30/john-singer-sargent-reveals-the-private-lives-of-the-rich-and-famous/
now in the national gallery here in washington http://www.nga.gov/content/ngaweb/collection/art-object-page.46428.html
- https://blogofthecourtierdotcom.files.wordpress.com/2017/01/wp-1484227859496.jpg
older posts https://blogofthecourtier.com/page/2/
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wbdnewton.com http://wbdnewton.com
@wbdnewton https://twitter.com/wbdnewton
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four years of this: tomorrow’s anti-trump art strike will miss the target https://blogofthecourtier.com/2017/01/19/four-years-of-this-tomorrows-anti-trump-art-strike-will-miss-the-target/
on hold: the met postpones drinking the art kool-aid https://blogofthecourtier.com/2017/01/17/on-hold-the-met-postpones-drinking-the-art-kool-aid/
painting “the walk of shame”: the intimate art of an american master https://blogofthecourtier.com/2017/01/12/painting-the-walk-of-shame-the-intimate-art-of-an-american-master/
the curious conundrum of catalan vs. castilian coffee https://blogofthecourtier.com/2017/01/05/the-curious-conundrum-of-catalan-vs-castilian-coffee/
the courtier (in barcelona) in the federalist: st. stephen in art and in martyrdom https://blogofthecourtier.com/2016/12/26/the-courtier-in-barcelona-in-the-federalist-st-stephen-in-art-and-in-martyrdom/
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blog of the courtier by william newton menu skip to content homecontactthe patrontop posts search search for: four years of this: tomorrow’s anti-trump art strike will miss the target january 19, 2017 / william newton / 2 comments ever since the 2016 american presidential election, the art press has grown more irrational than usual, which is saying something. the fear of a trump presidency, in tandem with a conservative-led congress, has fired up the art world in a way not seen since the cultish swooning that greeted the first obama inauguration eight years ago. a perfect example of this is the “art strike” taking place tomorrow during the presidential inauguration, an event which you would be forgiven for not even being aware of until now. a summary of the reasoning behind this event is contained in an essay published yesterday in apollo. the author, an art history professor at nyu, explains that the strike will be “in response to the feared imperilment of individual liberty and social equality that a trump presidency might inaugurate.” he expresses the hope that this event may have legs well beyond just a single day, as the art world confronts trump, et al., in the coming years. the application of logic, a virtue little understood and rarely valued within the art world, requires that we ask two questions about this event. the first and perhaps most fundamental question is, are the organizers being a bit premature? having such an extreme reaction to something which has not even happened yet is somewhat odd. it seems rather like going to the doctor because your toe hurts, and then insisting that he amputate your entire foot, before he has even taken an x-ray. yet the second, arguably more substantive question must be: who exactly is going to be hurt by this event? certainly an “art strike” will not hurt mr. trump, an appalling man of appalling taste who is not known for being a patron of the arts. nor will it hurt congress, which historically has shown little interest in or patience for the whingings of the art world. nor is this event likely to have any impact on average american voters, whose rare dealings with the inherent attitude of condescension and relativism within the art world usually leave them unimpressed and unwilling to support it, morally or financially. what is perhaps most curious about an exercise such as this, is that it may end up having the exact opposite effect of what its organizers intend. beyond the noble values of the free expression of citizens and the unfettered creative process, the unspoken motivator here is that of money. artists, museums, and public institutions are naturally worried that a new republican administration will cut their funding, as has happened to them many times in the past in the shift from a leftist to a conservative government. yet if the art world is so concerned about mr. trump or congress turning a giant, flaming eye from atop barad-dûr in its direction, surely it could not make more certain of heightened fiscal scrutiny, than by going out of its way to insult, ridicule, and shriek at those who hold the purse strings. in short, gentle reader, at least for this scrivener, it is going to be a long four years – or more. on hold: the met postpones drinking the art kool-aid january 17, 2017 / william newton / 7 comments the continuing woes of the metropolitan museum of art seem to keep on coming. with continued layoffs, deficits, leasing the old whitney museum, and lawsuits about all sorts of things, the white elephant of 5th avenue has been going through some hard times of late. now, it appears that the met will have to postpone the planned renovation and expansion of its modern and contemporary art wing, in order to address more pressing needs, such as fixing the roof. the problems faced by the met are not unique. similar issues have arisen for most of the world’s major art institutions, as they struggle to find an identity for themselves in the 21st century. most seem to be suffering from a kind of institutional schizophrenia, as they try to appeal to as many potential visitors as possible, while at the same time hating themselves for doing so. contemporary art is increasingly perceived as the solution to this existential dilemma. covering the floor of a large room with thousands of ceramic sunflower seeds will attract more visitors to an art museum than a beautifully-painted, delicate landscape of olive trees by corot. thus, old-skool art museums like the met want to steal some of the crowd from their expressly avant-garde sister institutions, and get some of that tourist lolly for themselves. long gone are the days when art museums were visited with some degree of circumspection, like libraries, with a quiet hush enforced by sharp glances and “shush!” from both staff and patrons. today, the primary goal of the art museum is to get as many punters in the door as possible, like at a shopping mall or theme park. groups of unimpressed school children and great swarms of foreign tourists all follow their designated guide, quickly passing over as many works as possible in the 1-2 hours they have been allotted, and all of them will have to pay an admission fee, get something to eat, and purchase a souvenir. to do this, art museums have become fora for the airing of grievances, real or imagined, and the celebration of enshrined mediocrity in contemporary art. even grand, old institutions such as the met, which should know better, want to display the workings of utterly untalented hands, because this is what draws a crowd. it allows curators and directors to feel as though they have not sold their souls to mammon, even if in the process they are selling them to moloch. eventually, someone will come along and give the met the cash it needs to increase its floor space for contemporary art, and display all sorts of awful things. it’s the nature of how museums work: just as the new york nouveau-riches of a century and a half ago built the met in the first place, so too some 21stcentury arriviste will do the same with his or her fortune made from whatever the latest widget may be. fortunately, unlike a magical baseball field in the middle of nowhere, if they build it, you do not need to come. painting “the walk of shame”: the intimate art of an american master january 12, 2017january 12, 2017 / william newton / 4 comments today is the birthday of one of my favorite artists, the american painter john singer sargent (1856-1925). regular readers will recall that my very first piece for the federalist was a review of an exhibition at the mfa in boston displaying a selection of works from the artist’s archive, which was recently donated to the museum by his family. this gave me the opportunity to reflect on his most famous output, the portraits he painted of family, friends, and the powerful people of his day. however there is another side to sargent, which is often overlooked in surveys of his art, and that is his more intimate, informal work, such as that which accompanies this post. “a street in venice” (1882), now in the national gallery here in washington, is one of my favorite paintings; it is so different from the glitzy, glamorous portraits that we usually associate with sargent, as to appear to be the work of another artist. it depicts a young woman wearing a black, fringed shawl over a long white skirt and a red blouse, walking down a side street in venice. two men in hats and overcoats standing in a doorway are having a smoke and watching her as she passes by. in the background, a man and woman are sitting in chairs and chatting outside of another doorway, and although most experts think they are at a cafe, i always think that they are peeling vegetables as they talk. there is nothing about the picture which immediately tells us that this scene is taking place in venice. there are no canals, no gondolas, no extravagant churches or palazzi. it could just as easily be somewhere in spain or france. it is probably winter, given the gray, overcast skies and the men’s heavy coats, although the young woman certainly isn’t dressed for the weather. she is either avoiding the gaze of the two men, or so wrapped up in her own thoughts that she doesn’t even notice them. given her attire, her downcast eyes, and introspective expression, i like to think that what we are looking at is what we might call a “walk of shame” picture, when you’ve stayed out all night and finally make your way home at dawn. if you remember the scene in “moonstruck” where cher walks home in the early hours of the morning, still wearing her party dress and overcoat after a night at the opera, and leisurely kicking a can down the street with her extravagant, beaded red heels, you get the idea. i suspect that this painting is set in the morning, since there are not a lot of people about yet, and the shop on the left side of the picture is closed. among the many wonderful things about this picture is the fact that there is hardly any color in it, and yet it is still a lively composition. there are a few slashes of red, in the young woman’s blouse and the flowers or comb that she is wearing in her hair, and in the center of the picture there is the pink skirt of the woman sitting in the background, but there is very little else in the way of bright color. here and there we see some ochre, teal, olive, and brown, but the majority of the picture is composed of shades of black, white, and gray. textures are also beautifully rendered in this painting. notice also how sargent is able to suggest the bouncing of the fringe on the shawl as the woman walks, and the swishing of the white skirt around her feet, with a bare minimum of brush strokes. the heavy wooden door on the left is wonderfully observed, with the lower portion already gray from being splashed with rainwater countless times, while the upper portion is still its original color, thanks to its being higher up and slightly protected from the overhang of the building. john singer sargent’s portraits are, understandably, his most famous work. yet much like velázquez, whom he admired and emulated throughout his career, sargent was much more than someone who painted simply to flatter those who could afford his paintings. in quieter, more loosely-painted works such as this, he showed that he was not all flash and glam. rather, he was someone who could create grand works of art, but could just as easily create an engaging, more personal picture, with a real sense of immediacy about it. posts navigation ← older posts about the authorwilliam newton is a graduate of the georgetown university school of foreign service, the university of notre dame law school, and sotheby’s institute of art in london. he lives in washington, d.c. learn more at wbdnewton.com and follow on twitter @wbdnewton follow blog via email enter your email address to follow this blog and receive notifications of new posts by email. join 13,702 other followers recent posts four years of this: tomorrow’s anti-trump art strike will miss the target on hold: the met postpones drinking the art kool-aid painting “the walk of shame”: the intimate art of an american master the curious conundrum of catalan vs. castilian coffee the courtier (in barcelona) in the federalist: st. stephen in art and in martyrdom search posts search for: archives archives select month january 2017 (4) december 2016 (8) november 2016 (7) october 2016 (9) september 2016 (9) august 2016 (9) july 2016 (8) june 2016 (6) may 2016 (4) april 2016 (5) march 2016 (9) february 2016 (8) january 2016 (8) december 2015 (10) november 2015 (7) october 2015 (5) september 2015 (3) august 2015 (3) july 2015 (10) june 2015 (7) may 2015 (1) april 2015 (1) march 2015 (22) january 2015 (3) december 2014 (4) november 2014 (10) october 2014 (16) september 2014 (16) august 2014 (16) july 2014 (22) june 2014 (21) may 2014 (20) april 2014 (22) march 2014 (18) february 2014 (16) january 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