News Art Blog

 The forgotten aspects of art history will always be the most intriguing. Digging up the dead storylines of art history, whether in the distant or the recent past, will never end, mostly thanks to forces that buried the facts, if not the bodies, for whatever agenda. Artists and Prophets: A Secret History of Modern Art 1872-1972 at the Schirn Kunsthalle Frankfurt resurrects German visionaries and Jesus wannabes from the late 19^th and early 20^th centuries to look at how their exploits and artistic creations helped shape the course of German and European modern art. It also shines light on how the impact of those figures fell into obscurity as another casualty of the ideological war waged by that most unfortunately unforgettable of German messianic aspirants — Adolf Hitler. Please come over to Picture This at Big Think to read more of "Vision Loss: The Forgotten German Prophets Secretly Behind Modern Art."

“Bürgerschreck!” rang the accusations in German at Austrian painter Egon Schiele in April 1912. This “shocker of the bourgeois” found his home rifled by local constables searching for evidence of the immorality locals suspected of a man who lived with a woman not his wife and invited local children to pose for him. The constables brought over one hundred drawings as well as Schiele himself to the local jail, where he sat for 24 days until a court trial during which the judge flamboyantly burned one of Schiele’s “pornographic” portraits in front of the chastised artist before releasing him. That experience changed the rest of Schiele’s life and art. Egon Schiele: Portraits at the Neue Galerie in New York City centers on this turning point in Schiele’s portraits, which remain some of the most psychologically penetrating and sexual explicit portraits of the modern age. Schiele’s capacity to shock today’s audience may have declined as modern mores finally catch up to him, but the power of his portraits to captivate through their unconventionality, sensitivity, and empathy never gets old. Please come over to Picture This at Big Think to read more of "How Prison Changed Egon Schiele’s Portraits for Better or Worse."

 When David Bowie played Andy Warhol in the 1996 film Basquiat, he wore Warhol’s actual wig and glasses. Bowie met Warhol in his travels through the art world and even played the song he wrote about him to Warhol, which Andy, of course, didn’t like. In an interview leading up to the exhibition David Bowie is (at the Art Gallery of Ontario, Ontario, Canada, through November 27, 2013), artist Jeremy Deller compares Warhol’s influence on the 1960s to Bowie influence on the 1970s. “They both ruled the decade,” Deller claims. “They defined it and they changed it.” However, the artist that Bowie mirrors the most may be another of his favorites, Pablo Picasso. Like Picasso, the single constant in Bowie’s career has been being on the cutting edge of change. Over the years, Bowie’s been Ziggy Stardust, Tao Jones, Halloween Jack, Aladdin Sane, the Thin White Duke, and John Merrick, the “Elephant Man.” But Bowie’s always been Bowie through all those incarnations. David Bowie is shows you how he’s been all those things and more, but also what he “is” today—an influential force beyond any single art form, the Picasso of our time. Please come over to Picture This at Big Think to read more of "Is David Bowie the Picasso of Our Time?"

Nothing hurts like a blown call. Baseball’s bittersweet beauty owes much to moments such as Umpire Jim Joyce’s missing a call to rob Detroit Tigers’ pitcher Armando Galarraga of a perfect game, that rarest of baseball feats, in 2010. In baseball, calls are irreversible. In the world of art criticism, however, a blown call can be reversed, sometimes years and years later. In the February 2013 issue of Art News, Ann Landi chronicles cases of art critics changing their minds. Split Decisions: When Critics Change Their Minds gently, but firmly pulls away the curtain of infallibility from the world of art critics, whether they like it or not. But more important than documenting these moments of minds changed is raising the question of what makes art critics change their minds. Please come over to Picture This at Big Think to read more of "What Makes Art Critics Change Their Minds?"

[Image: Cy Twombly. Fifty Days at Iliam. Shield of Achilles, 1978. Oil, oil crayon, and graphite on canvas.]

You know you’ve made the big time when you rate a Google Doodle, as Gustav Klimt did this past weekend in recognition of the 150^th anniversary of his birth. Anyone around the world Googling for knowledge got a glimpse of Klimt’s iconic 1907 painting The Kiss (detail shown above). For many people, however, Klimt’s almost as overused and overexposed as Google itself. The Valentine’s Day-ification of The Kiss seems to have smoothed the rough edges of the bad boy of turn of the 20^th century Vienna and made him more kitsch than kunst. When the centennials and sesquicentennials roll around, reevaluations become unavoidable. So, can we say for certain whether Klimt’s genuine genius or overhyped kitsch? Please come over to Picture This at Big Think to read more of "Gustav Klimt—Genuine Genius or Overhyped Kitsch?"

Although I risk impinging on the territory of fellow Big Think blogger Marina Adshade of Dollars and Sex, I can’t help but comment on a recent report in The Guardian titled “When art breeds success in the bedroom: Does success as an artist bring you more sexual conquests? Well, yes and no, say researchers.” Marc Abrahams, editor of the Annals of Improbable Research and chief organizer of the humorous and thought-provoking Ig Nobel prize, stumbled across an article in the Frontiers of Psychology titled “Status and Mating Success Amongst Visual Artists” written by UK researchers Helen Clegg, Daniel Nettle, and Dorothy Miell in which the trio argue that successful male artists have a lot of sex, whereas less successful male artists have less. When you talk about female artists, however, success means pretty much nothing at all when it came to their sex life. At the risk of going against their findings (and of sounding like Carrie from Sex and the City), is really true that great male artists have greater sex? Please come over to Picture This at Big Think to read more of "Do Great Artists Have More Sex?"