By Lauren Smart
By Jane R. LeBlanc
By Lauren Smart
By Elaine Liner
By Jim Schutze
By Rachel Watts
We are embarking on a new century, finally, by the calendar and in most other ways. Gone is our standoffishness, our sense of being apart and inviolable, a city on a hill removed from the squabbles and hatreds of the Old World. Art and music have returned to Afghanistan, a country most citizens (including, one suspects, the First Citizen) couldn't have found on the map a year ago, and foreign news coverage is back in our newspapers, an item most Yanks couldn't have located, either.
Some of the finest art to be seen in 2001 was in photojournalism from the mountains and villages of Afghanistan. But not all. Third World art was a theme back home as well; it was, in fact, the focus of the very best and very worst museum and gallery offerings of 2001.
The high point of the year came early, in the Modern Art Museum of Fort Worth's Latin American show, rather unfortunately titled Ultrabaroque: Aspects of Post-Latin American Art. Despite the jargony subtitle, it was a spectacular coup for MAMFW, a truly great little museum that almost--almost--never misses. (For a rare MAMFW misstep, see Trenton Doyle Hancock below, under "worst.") Ultrabaroque was something all too rare in these parts, a serious examination of an art-historical topic, namely the influence of the European baroque on contemporary art from Latin and South America, a show with real intellectual substance that never for a minute condescended to its audience. Plus, it was just plain fun. The art itself was fascinating, a flamboyant and colorful exploration of themes ranging from colonial subjugation to teen culture, and of influences from conceptual art to folk art to academic history painting. The show featured the work of well-known art figures such as Meyer Vaisman, whose "Untitled Turkeys" and pink rendition of his analyst, Barbara Fischer, were unforgettable. But it was the relative unknowns who stole the show. Brazilian artist Adriana Varejo married paint with wall reliefs and trompe l'oeil technique with sharp commentary, creating some arresting images. Miguel Caldern's hilarious and huge Kodachrome "Employee of the Month" stills made norteamericanos like Cindy Sherman look shallow and shrill by comparison.
Locally, photography was a bright spot. I speak, of course, not of art photography--which, despite its vogue as an artistic medium, remains an oxymoron--but of its low-rent cousins, photojournalism and documentary efforts. Photographs Do Not Bend, which may be Dallas' best commercial gallery per square foot, put on a series of outstanding shows throughout 2001. But its best was its first, Parallel Journeys, a show that featured the work of Flor Garduno, Mariana Yampolsky and Cristina Garcia Rodero, women who capture lives and rituals of peasants in Spain and Latin America. The selections were spellbinding, not only for their subject matter but also for their neat presentation of ethical and artistic issues. Basically, photojournalists and documentarians come in two flavors: those who attempt to hide the truth and those who tell it like it is. Garduno represented the former and Garcia Rodero the latter, with Yampolsky falling somewhere in between. For this reason and others, Garcia Rodero emerged as the star. Her work documenting the medieval folk rituals of modern Spain stands out, thanks both to her eye for arresting juxtapositions and to her ability to capture Cartier-Bresson's "decisive moment," a gift far more rare among photographers than is generally appreciated.
The low point of 2001 came late, in the form of the Dallas Museum of Art's Great Masters of Modern Folk Art show, which just ended. The problem was not the subject; "folk," "naïve" and "outsider" art are all worthy artistic genres, vitally important to the history of 20th-century art. In this case, the execution was the rub. The DMA made little or no effort to apply a rigorous connoisseurship, and the result was a bewildering mixture of legitimate art and tourist-trade tchotchkes, a Neiman Marcus fortnight masquerading as a major museum show, a corporate PR job that raised the commodification of folk art to new heights.
The worst part is that the DMA knew better. It reportedly turned down this lemon when first approached, only to reverse itself after being leaned on by community leaders. Presumably, the museum justifies this as some sort of outreach to the Hispanic community, but the road to hell is paved with such rationales, and in the DMA's case, the road to hell is more like an autobahn. It is painful to watch an institution with values so bass-ackwards, a museum that cares more about promoting an image and tourism than about intellectual inquiry. Even the DMA's big Henry Moore show suffered from this syndrome. Henry Moore: Sculpting the 20th Century was a mind-bogglingly ambitious effort, an effort that included 104 pieces of sculpture and 95 drawings, a show organized by the DMA and the Henry Moore Foundation, with a 323-page catalog published by Yale University Press and a prestigious list of venues. It was a show, in short, with everything except a legitimate reason for being. Naturally, a rationale was attempted: The show claimed to be about resuscitating Moore's mixed critical rep. But the real purpose was self-promotion, an agenda museum officials didn't even try to hide. Indeed, they bragged about it, right up front, in remarks to the press and in the exhibition catalog, mentioning the "imminent" Nasher sculpture garden and public-private partnerships, sounding more like real estate promoters than Ph.D.s.