Thursday, January 29, 2009

Paintings I Like, pt. 26

Edouard Manet, "The Spanish Singer," 1860. Oil on canvas, 58" x 45."

I've been thinking quite a bit about Clement Greenberg lately; the James Bond villain of the art world. He was wrong about quite a lot of things, including some of the fundamental aspects of his program. But he had the rare gift of clarity, made all the more precious by its conspicuous absence in current art writing. Greenberg wrote an obit for T.S. Eliot, and, referring to the poet's critical writing, pointed out that Eliot had the ability to shed more light on a given subject when he was wrong than most people could when they were right. The same could be said about Greenberg.* He bristled against the mystical tendencies of art-writers in the post-wars years, particularly Harold Rosenberg, and he never lapsed into the type of mystification that replaced the poetic: that of the bifurcated epistomological syllogism.

In Modernist Painting, one of the three essays that make up a kind of manifesto,** Greenberg holds up Manet as the first Modernist painter. He points out that Manet places his emphasis on compositional completeness, specifically engagement with the edges, at the expense of spatial correctness. The "incorrect" perspective that Greenberg describes can be seen with clarity in "Mademoiselle V... in the Costume of an Espada" (1862), in which the central figure and the two groupings in the upper right are obviously taken from different sources. The result of the cut-and-paste arrangement along with Manet's loose brushwork is a kind of extreme spatial flattening. For Greenberg, this flatness started out as a sharp observation and became an obsession.

Putting aside the unreasonable demands for flatness that Greenberg placed on the painters of his own era, the fact that he recognized a historical tendency that emphasized pictorial space as opposed to modes of representation was something brilliant and new. But the companion of his flatness was an absolute denial that subject played a significant role in the pictures he placed inside his teleology. Like all polemical writers and essays, the strong tendency to throw out the baby with the bath water makes the prose compelling, but the problems quickly mount. And the problems of this type of analysis are front-and-center in the case of the enigmatic Manet, who said and wrote little about his work, but was known to be canny and wry.

In the "Spanish Singer" of 1860, the first of Manet's pictures to be accepted in the Salon, the flattened, atmospheric space and frank brushwork which prompted Greenberg to name Manet Modernist #1 are on full display. The strong horizontal of the bench forms a grid matrix with the verticals of the figure's torso, the figure's legs below the knee, and the legs of the seat. the two diagonal supports under the bench line up nearly perfectly with the bottom corners of the canvas, and are then echoed in the upper right leg of the figure, the neck of the guitar, the tied portion of the scarf hanging from the back of the guitarist's head, and the shadow cast by the figure's left leg. The dark jacket melts into the dark ground, bringing the latter right up to the picture plane and pressing the upper portion of the figure down into it.

The picture is formally brilliant. But was Manet really indifferent to subject? The first picture that Manet tried to get into the salon was "The Absinthe Drinker" (1859). It was rejected, and critics consistently pointed out that the style was reminiscent of Velazquez, but the subject wasn't remotely Spanish. According to Proust, Manet commented that "I painted a Parisian character whom I had studied in Paris, and I executed it with the simplicity I discovered in Velazquez. No one understands it. If I painted a Spanish type, it would be more comprehensible." Chafing at the critical community's literal-mindedness, he put a model in superficially Spanish attire, handed him a guitar gave them what they wanted.

Greenberg would most likely use this as evidence that Manet was interested in the formal above all else - the fact that one subject was as good as another, and that Manet could achieve him pictorial ends with almost anything as the armature. That the guitar is held backwards could be presented as further proof that the painter's concerns were pictorial - it's possible that Manet could be depicting a rare, left-handed player, but it is more likely that he wanted a diagonal in the center-left of the picture. Greenberg would probably go on to point out that a natural path toward abstraction was paved in just this way; painters who were primarily interested in the visual grew tired of addressing silly concerns about subject. He wouldn't be entirely wrong about all this.

But like in the mysterious "Luncheon in the Grass" (1863), "Olympia" (1863), and "A Bar at the Folies-Bergere" (1882), it becomes clear in The Spanish Singer that Manet is playing with subject in a subtle, somewhat comic way. The first clue is the Singer's costuming, which was cobbled together without any effort to represent a specific Spanish region or era. Spanish and "Arabian" themes were wildly popular in 19th century French art, and Manet put together a costume which would look sufficiently Spanish to the average Parisian. The onions add to the comic effect.

But the most interesting aspect of the representation has to do with the facial expression of the sitter. It's a very similar face to the one you can see on models in figure drawing class during especially long poses; the face of someone who has to sit or stand perfectly still for a long period of time and withdraws into one's own head. It's a daydreamer's face, and Manet makes no attempt to hide it in his depiction, even though the smoldering cigarette on the ground would indicate that the singer has just tossed down his smoke and burst into song. The painter could have made the face look more animated either through artifice or by painting the face while the model was still fresh in his pose, but chose to emphasize the artificiality of the situation. A subtle poke at those that demanded predictably Spanish subjects, perhaps.

Back to Greenberg, who, in Modernist Painting, said: "The essence of modernism lies, as I see it, in the use of the characteristic methods of a discipline to criticize the discipline itself - not in order to subvert it, but to entrench it more firmly in it's area of competence." Greenberg of course saw the immanent critique of painting initiated by Manet as a purely formal endeavor; the first part of the critique was the elimination of representation, the second was the drastic reduction of fictive space. The characteristic methods to which he refers are the ways of painting, not the what.

By emphasizing the artificial nature of the studio set-up in his picture, Manet was surely critiquing the expectations of his audience specifically and of representation in painting generally. But was he consciously or unconsciously trying to move painting to a place where representation was no longer necessary? It hardly seems likely - the confoundingly mixed signals that he sends in the "Spanish Singer" and all of the afore-mentioned pictures seem to be perpetrated with the joy of a practical joker. The blank, psychically withdrawn face of the Spanish singer doesn't seem like an act of exasperation on Manet's part, but a celebration of his subversive wit.

And this subversion is where Greenberg's interpretation of Manet's role in the Modernist project falters - in the above quote he insists that the inside-out critique of modernism was not initiated in order to subvert but to solidify. But characterizing Manet as a painter who wasn't subversive represents a conscious effort to ignore the documentary evidence of his paintings. Greenberg's argument works well a little further down the road when applied to Monet and later to Cezanne, but much has to be ignored for it to accurately describe Manet's project.

I still think Greenberg is the best critic of the 20th century, and one of the best aesthetes. In my view he was, in part, wrong about his interpretation of Manet's work, but even while wrong, he sheds far more light on the paintings than most do when they're right.

*The comparison drawn between Greenberg's assessment of Eliot's criticism and Greenberg's own criticism is not an original observation on my part. I feel quite sure I read it in a foreward to a CG collection, but after looking through several, I can't seem to find it. If anyone can point me to the correct citation it would be greatly appreciated.

**the other two essays are "Avant Garde and Kitsch," and "Towards a Newer Laocoon."

Monday, January 26, 2009

Long Live the King!



Curlin, shown above crushing the Dubai World Cup in March of 2008, tonight became the first thoroughbred to win back to back Horse of the Year honors since Cigar did it in 1995 and 1996. His two closest rivals for the award were the undefeated Zenyatta and the puzzling Big Brown. The former was given top honors for older Fillies and Mares, and the latter easily won the award for top three-year-old male.

Other Eclipse awards included Kentucky Oaks winner Proud Spell for three-year-old fillies, Benny the Bull for top sprinter, and Kentucky Derby-hopeful Midshipman for top two-year-old male.

I was rooting for Curlin to get the big prize, despite his disappointing fourth-place finish in the Breeder's Cup Classic, which was the champ's final race. His only two losses in his four-year-old campaign were game attempts on unfamiliar surfaces: on the the grass in the Man o' War, and on the Santa Anita polytrack in the BC Classic. After winning the Jockey Club Gold Cup at Belmont in September, he became the first thoroughbred to surpass $10,000,000 in earnings.

This year he begins his career as a professional lady's man, receiving a fee of $75,000 for each romance. Long live the Cadmium Orange horse!

Thursday, January 22, 2009

The Purple-Hooded Man

"The Purple-Hooded Man," 2008. Acrylic on panel, 12" x 12."

This picture will be in the the 32nd "Small Works" exhibition at NYU's 80 Washington Square East Galleries. The show opens on January 31st and stays up until March 13th.

Monday, January 19, 2009

Thursday, January 15, 2009

Farewell, You Big Jerk

If anyone can think of anything beginning with X or Z, please drop me a note:

Abu Graib
Alberto Gonzalez
Axis of Evil
Bailout
Blackwater
Compassionate Conservatism
Corporate Welfare
Deficits
Dick Cheney
Drilling
Energy Deregulation
Enron
Environmental Deregulation
Finance Deregulation
Gay Marriage
Global Warming
Guantanamo
Habeas Corpus
Halliburton
Iraq
John Ashcroft
Karl Rove
Katrina
Lewis "Scooter" Libby
Mission Accomplished
Michael Chertoff
Missile Defense
Neocons
Patriot Act
Paul Wolfowitz
Political Firings
Quagmire
Recession
Rumsfeld
S-CHIP Veto
Social Security
Stem Cells
Tax Cuts for Millionaires
Terry Schiavo
Torture
Unemployment
Valerie Plame
Weapons of Mass Destruction
Yellowcake

Saturday, January 10, 2009

"America" (1st stanza), Allen Ginsberg, 1956

America I've given you all and now I'm nothing.
America two dollars and twentyseven cents January 17, 1956.
I can't stand my own mind.
America when will we end the human war?
Go fuck yourself with your atom bomb.
I don't feel good don't bother me.
I won't write my poem till I'm in my right mind.
America when will you be angelic?
When will you take off your clothes?
When will you look at yourself through the grave?
When will you be worthy of your million Trotskyites?
America why are your libraries full of tears?
America when will you send your eggs to India?
I'm sick of your insane demands.
When can I go to the supermarket and buy what I need with my good looks?
America after all it is you and I who are perfect not the next world.
You machinery is too much for me.
You made me want to be a saint.
There must be some other way to settle this argument.
Burroughs is in Tangiers I don't think he'll come back it's sinister.
Are you being sinister or is this some form of practical joke?
I'm trying to come to the point.
I refuse to give up my obsession.
America stop pushing I know what I'm doing.
America the plum blossoms are falling.
I haven't read the newspapers for months, everyday somebody goes on trial for murder.
America I feel sentimental about the Wobblies.
America I used to be a communist when I was a kid I'm not sorry.
I smoke marijuana every chance I get.
I sit in my house for days on end and stare at the roses in the closet.
When I go to Chinatown I get drunk and never get laid.
My mind is made up there's going to be trouble.
You should have seen me reading Marx.
My psychoanalyst thinks I'm perfectly right.
I won't say the Lord's Prayer.
I have mystical visions and cosmic vibrations.
America I still haven't told you what you did to Uncle Max after he came over from Russia.

Wednesday, January 7, 2009

paulcorio.com

The new and improved paulcorio.com went live today; it's an overview of the work I've done since returning to painting in 2005. It will be updated periodically, but new work, announcements for shows and the like will continue to appear here on No Hassle at the Castle.

Comments and suggestions for the new site are welcome, either posted here as comments or by e-mail. For those viewing on laptops or smaller screens, I'm particularly interested in whether or not the pictures are too large (i.e., do you need to scroll to see the whole pic?).

Tuesday, January 6, 2009

Mona From Deltona

"Mona From Deltona," 2008. Acrylic on canvas, 26" x 18."

The above painting will be hanging in Sideshow Gallery's annual winter group exhibition, this year entitled "It's a Wonderful Life." The opening is always a real scene.

The show opens this Saturday, Jan. 10th, from 6:00 to 9:00. Sideshow Gallery is located at 319 Bedford Ave in Brooklyn.