“Why do we want these works to turn out to be by Velázquez and Michelangelo? After all, the art is the same either way.”

The Wine of St. Martin’s Day, a previously ignored painting by Pieter Bruegel the Elder
 

“In the end we want another celebrity attribution like this one because we want to get things straight. History tries to make sense out of chaos, toward which the world inevitably inclines. Art historians create hierarchies, categories and movements; they attribute causes and effects to conjure an appearance of logic. Attributing a picture to a household deity like Bruegel or Michelangelo affirms our sense of control, our ability to get a grip on our affairs, at least for the moment. We take comfort in mooring some grimy, forgotten canvas, another example of life’s flotsam and, implicitly, of our own fate, to one of the pillars of art history.” – Via the NYTimes

Maybe that’s the reason; we’re so excited by the discovery of a masterpiece we forget we never thought it was great before. Maybe its the thrill of discovery. But I think we could all just be a tad foolish.

Anything is Possible

“I Am Not Me, the Horse is Not Mine” excerpt

I finally saw the art21 William Kentridge documentary last night (available for online viewing if you missed it too), and it reminded me what a performative artist Kentridge is. At his MoMA exhibition sometimes, like in the Melies series, one was watching his recorded performance, but I think I forgot about the aspect because I was caught up in the action. He uses his body as a tool without making the work seem about himself. And the results are usually delightful.