Some say Swiss-born performance artist Milo Moiré is a provocateur without a point, a nudist more suitable for Instagram than the art world. Her critics have denounced her work as vacuous, devoid of meaning. As with much performance art, people ask if her work even qualifies as art. Is it pointless exhibitionism or is she trying to convey something meaningful?
Of course, we could ask that question about many performance artists, but in Milo Moiré’s case, it’s relevant. Another relevant question: how do her performances, and reactions to them, reflect the world in the second decade of the 21st century? (more…)
When we hear the words “pervert” or “perversion,” we tend to think of them in terms of sexual deviancy. As with most words, “pervert” and “perversion” can convey a variety of senses. You can pervert meaning, for example. In this sense, you’re altering the meaning of a word or phrase to fit your agenda. Or you can pervert the system, changing it to achieve your goals.
Perversion as a concept isn’t limited to sex and sexuality. It can also mean actors or behavior outside cultural norms. We’ll focus on these two meanings of the word and how they’re sometimes, but not always, interconnected.
You could argue that every art movement since the mid-to-late nineteenth century is either predicated on or incorporates some sense of perversion. If we use “perversion” is the sense of an unorthodox approach, then modern art is explicitly founded on it. Institutions dictated what constituted art—and they did so with an iron fist: you could only paint in a studio, not outdoors; you had to hide your brushstrokes; you could only depict historical or didactic scenes or imagery, and so on. Institutions dictated style and form and, to a degree, content. (more…)
In France in the nineteenth century, an elite group dictated art. The Academy, as it’s known in English, held strict ideas about art–all of them derived from the classical world, the Renaissance, and the baroque era. The men who ran the Academy dictated artistic tastes by preserving the past. New artists didn’t stand a chance if the Academy refused to exhibit their work.
Their power constituted a form of cultural totalitarianism–and few people challenged them. If you were an artist in the nineteenth century and you wanted them to consider your work, then you had to follow their rules. Paintings could only depict mythological, historic, or religious scenes or stories. Artists had to conceal brushstrokes. They couldn’t depict modernity. They could stage models or paint modern landscapes, but they had to present them as ancient or historic stories or allegories.
An artist violating these and other rules didn’t stand a chance with the Academy. And if the Academy rejected you, you’d probably never make it. (more…)
Martin Navejas greeted us at the entrance of the White Ripple Gallery in Hammond. This would be Martin’s second solo exhibition and if he was nervous you could not tell. We moved slowly up a flight of stairs passing the art work of what I assumed were other artists to be featured at the gallery. We arrived in a huge room at the top of the stairs and along the walls the work of the 27-year-old artist hung.
I walked around the room taking in his work, most were nudes with both men and woman. What struck me about Martin’s work was not just the level of nakedness the models have but where the pictures were actually taken. To Martin the locations where he takes the pictures are just as important as the models and in some of his work it’s almost as if the model is secondary and the location and is the main subject, like the abandoned church confessional that was used in one of his pieces. (more…)