 |
| Seward Johnson, Forever Marilyn |
Since it's unveiling, Seward Johnson's 'Forever Marilyn' has seen a mixed-bag of critical responses. While I personally want to gouge my eyes out over this kitschy schlock, apparently Chief Curator, Michael Darling, at the Museum of Contemporary Art expresses that it's size - works. Darling says, 'One thing (to consider) is just the very basic human instinct to take a photo of something that's out of size. We think about how weird something looks, but also I definitely don't mind the notion of spectacle - and creating something big and impressive and unusual in a site like (Pioneer Court) - that can galvanize the public's interest.' He touts that the work 'commands the space,' but so can a litany of other large-scale installations, just look at Marilyn's peers.
Scale, specifically - larger than life scale, seems to be a major recurring theme in Chicago's public sculpture. This, summer less than a mile north of Marilyn, an enormous coat hanger is bent into the plaza in front of the Museum of Contemporary Art. To the east, a miss spelled plea for help, FIX-ICE MACHENE, in 12 foot wooden letters on Navy Piers Front Lawn. And in the Loop, a nine story mural on a building at State and Washington reads 'GO DO GOOD' in large black block letters against a highlighter yellow background. If bigger is better than Chicago is the best when it comes to public art. Don't forget last year's Tony Tasset sculpture of the Eye that stood sentinel near Harold Washington Library. Even Picasso's flamingo stands merrily gargantuan. But can something like 'Forever Marilyn' really make it's claim as serious public art based on scale alone? No.
I can make a great case for the Chicago's other large scale art installations and - admittedly - a tenuous one for 'Forever Marilyn.' Does anyone remember Warhol's Athlete Series or iconic paintings of Elizabeth Taylor and even good old Marilyn? or JEFF KOONS ENTIRE CAREER? Needless to say, Seward Johnson's 'Forever Marilyn' is a throw-away piece of public art. It does not challenge or engage the public. It's too easy, according to Darling. '(The image) Is so well known, its banal, in a way.' Darling goes on to compare the aesthetic of 'Forever Marilyn' to the saccharine interior of a dentists office.
But let's look at the upside. Even though Chi-City is stuck with this vomit inducing sculpture, that is the kitsch equivalent of a porcelain kitten plate, for a while it reads as a great barometer for the public's reaction to the art that is thrust upon it. And what is the public saying? 'Give us some credit - we're more sophisticated than that.' Bravo people of Chicago, Bravo!
No comments:
Post a Comment