{"id":11025,"date":"2024-03-12T10:10:29","date_gmt":"2024-03-12T10:10:29","guid":{"rendered":"https:\/\/www.mcelhinneyart.com\/jlmcelhinney\/?p=11025"},"modified":"2024-03-12T10:22:38","modified_gmt":"2024-03-12T10:22:38","slug":"art-of-the-spectacle-a-memoir-part-two","status":"publish","type":"post","link":"https:\/\/www.mcelhinneyart.com\/jlmcelhinney\/art-of-the-spectacle-a-memoir-part-two\/","title":{"rendered":"ART OF THE SPECTACLE: A Memoir. Part Two"},"content":{"rendered":"
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Personal exhibitions arose from the art-market shifting from a commission-based economy, to one in which self-motivated artists produced speculative bodies of work for unknown buyers. The art gallery<\/i> as such did not exist prior to the 19th<\/sup> century. Its emergence as a business-model for selling art in a primary market coincided with the rise of international expositions, such as London\u2019s Crystal Palace in 1854, and theatrical presentations by showman-artists such as George Catlin, whose Indian Gallery toured Europe and the United States in the 1830s and \u201840s. Frederic Edwin Church toured monumental show-pieces such as Heart of the Andes<\/i>, to be viewed by ticketholders, in America and abroad. Gustave Courbet\u2019s monumental painting The Painter\u2019s Studio: A real allegory summing up seven years of my artistic and moral life, <\/i>completed in 1855, embodies the Bohemian beau-ideal<\/i> of the artist as a defiant, egocentric, solitary genius that arose from the revolutionary fervor of the 1830s and \u201840s. the artist portrays himself as a roughneck Napoleon, attended by the admiring cognoscenti of the Parisian demimonde<\/i>.<\/div>\n
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From its very beginnings, the nascent avant-garde cultivated performative dimensions. Artists staged tableaux-vivants<\/i>. Clad in 16th-century attire, Worthington Whittredge posed for a portrait by Emmanuel Leutze. Marcel Duchamp vamped for the camera as Rrose S<\/i>\u00e9<\/i>lavy<\/i>, and Jackson Pollock dribbled paint for filmmaker Hans Namuth, and photographer Rudy Burkhardt. When Bob Rauschenberg erased a drawing given to him by Bill de Kooning, the act was intellectualized as a meditation on presence and absence; one process reversing another; hastening the entropy to which all materials succumb. Whatever it was, it was definitely an act<\/em>\u2014just not the kind Ed Sullivan might book for his Sunday night variety show. (Excerpt) James L. McElhinney (c) 2024<\/p>\n

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CLICK on the image below to learn more about<\/span><\/span>
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Personal exhibitions arose from the art-market shifting from a commission-based economy, to one in which self-motivated artists produced speculative bodies of work for unknown buyers. The art gallery as such did not exist prior to the 19th century. Its emergence as a business-model for selling art in a primary market coincided with the rise of … Continue reading ART OF THE SPECTACLE: A Memoir. Part Two<\/span> →<\/span><\/a><\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[2],"tags":[],"class_list":["post-11025","post","type-post","status-publish","format-standard","hentry","category-blog"],"yoast_head":"\nART OF THE SPECTACLE: A Memoir. 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