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If Joel-Peter Witkin Was a Nursery Rhyme

History of the White World: Arabia

Joel-Peter Witkin
Was standing on a curb
A girlie's head bounced up to him
Her fault he is a perv

Joel-Peter Witkin
Likes to stage tableaux
Scratchy prints of body parts
Dwarves and scenes by Giotto

Joel-Peter Witkin
Went peeping down a lane
And bought a horse to crucify
Convinced he is humane

Joel-Peter Witkin
Has a lot to say
Hermaphrodites and Jesus
The studio of Courbet

Joel-Peter Witkin
Is he just a naughty boy
Who likes a dirty picture
And has a camera for a toy?

More about Joel-Peter Witkin:
On ArtNet
Wikipedia Entry
Edelman Gallery

A Beautiful, Claustrophobic Dream

Reese Street

Jeremiah Zagar has taken refuge behind the camera in this award-winning documentary about his father, Isaiah Zagar, an obsessive post-hippie mosaicist and occasional manic; his mother Julia, a grounded muse, enabler, and entrepreneur; and his brother, a troubled, addicted foil to the family drama. The film is itself a mosaic: family films and photographs, produced as part of the relentless documentation in multiple media of their lives from the mid-sixties forward, animations of Isaiah's drawings, footage of the glittering, mosaic-crusted Philadelphia buildings that Isaiah has transformed, and reality-TV-style depiction of their transitions and ups and downs. Colorful, inspirational, and insightful, the film poses questions about the relationship between art, sanity, family, stability, money, loyalty, and perseverence. Most of all, the relentlessly mosaic-ed interior of the family home overwhelms any possible individuation; the horror vacui of the art work oppressively dominates all who dwell within, as the personality of Isaiah does his family. Bless the families of artists!

All the Leaves are Brown

Andrew Wyeth, 1964 (Baltimore Sun story by Patrick Walters, The Associated Press)

Andrew Wyeth, lover of gray and brown, the sere and the lonely, master of alone-ness, as well as lover of models, has joined the great tempera painting in the sky, a curtain blowing in from an open window.

Wind from the Sea, 1948

At 91, he straddled the uncomfortable gap between low-critical and high-popular acclaim with a certain amount of "whatever," and like many other male artists, did exactly what he wanted to the tune of financial success. His wife took care of the details and didn't sweat the secrecy. In the end, the work exhibits peerless technique in the service of subject matter that veers at times towards the reproducible, and yet still strikes a transcendent chord at least part of the time.

Winter, 1946

"I prefer winter and fall, when you feel the bone structure in the landscape -- the loneliness of it -- the dead feeling of winter."

Vampires Shmampires

Le Manoir Diable, Georges Méliès

The vampire has been fanging on our collective necks since 1896 with the first appearance of a man transforming into a bat in Méliès two minute fantasy-comedy Le Manoir Diable, followed shortly thereafter by the publication of Bram Stoker's Dracula in 1897. One hundred and twelve years later we are still being stalked by the pallid, otherworldly creatures. Is it a coincidence that as the world seems to becoming a darker and more unpredictable place that the vampire is once again reasserting his hold on our attention? Twilight, True Blood, and Let the Right One In all depict vampires as not only having the savage unquenchable need to drink human blood, but also as having an irresistable charismatic appeal. Why are we feeling the need to fall in love with something that wants to kill us?

The Wikipedia entry on Stoker's Dracula cites themes of imperialism, xenophobia and use of technology to achieve results. Hmm. Sound familiar?

The First Emperor Now at Fascist DisneyWorld

Soldier and Horse by Robin Chen, Not from Exhibit

Imagine standing in the longest line ever, only it never ends. Like being at WalMart, but not only does your hair look really good, so does everybody elses. And WalMart kills your hairdresser. This is something like what it must have been like to be an actual terracotta soldier as currently represented by the exhibit at the High Museum, The First Emperor: China's Terracotta Army. The story of the seven thousand uniquely sculpted soldiers that were buried forgotten on a plain for 2,000 years is truly amazing, and the brilliant and systematic efficiency of the ruler Qin Shi Huang, the First Emperor of China, produced powerful, lasting effects on the country, and yet, this traveling exhibit which originated at the British Museum manages to summarize, pre-digest, and commodify the complex history without mentioning words like slave, mass murder, or forced labor. But first, you have to pay 18 dollars for admission plus five dollars for the audio tour, which does briefly admit in passing the possibility that the "conscripted workers" could be considered to have been, well, slaves. The extremely minimal content that is imparted in text and on tape would together fill up one side of a cereal box. Why not just charge an even 25 dollars and throw in a pamphlet? By the time you are released into the gift shop of overpriced Chinese knick knacks, you are either programmed to purchase the complete set of miniature replica terracotta soliders, a must-have at the post-Christmas bargain price of $25.00, or worse, you will convince yourself that you need to get a full-size version.

The amount of money that is being made from this exhibit does not seem to be reflected in the content or cultural scholarship that surrounds it. From an article about the terracotta soldiers in Wikipedia:

"According to The Times, many people had to be turned away from the exhibition, despite viewings until midnight, and during the day of events to mark the Chinese new year, the crush was so intense that the gates to the museum had to be shut. The Terracotta Army has been described as the only other set of historic artifacts (along with the remnants of ruins of the Titanic) which can draw a crowd simply on the back of the name alone."

People are deeply interested in these artifacts. Is their attention span sufficient to stand in line to look, but not to think deeply about all of the facts surrounding their creation? It's as if an exhibit in 2000 years focused primarily on Hitler's development of the autobahns and didn't mention the Holocaust. DisneyWorld charges admission for an experience that entertains and diverts, while providing opportunities to separate you from your money for every little thing. Aren't museums supposed to do more than that?

The period of Qin Shi Huang's unification of China is also known as the "burning of the books and burial of the scholars," which sounds just like it was. Perhaps the not-quite-yet-to-materialize Shanghai Disney will offer a thrilling adventure ride modeled on the Cultural Revolution. Great fun for the family!