Lots of feelings about this article in New York Magazine. I’m rather objective when it comes to art. From a mastery perspective , she’s following an almost instinctual desire to explore race. It’s a reflection of her open mind cultivated by her unorthodox childhood.
Once an artist’s work leaves the studio, there is an inherent accountability. You have to relate it to the context of society-Past, present, and history.
She’s a fine artist. She deserves her successes. Her work with Kayne West is the most problematic for me because it’s so Eurocentric. Ferguson is on fire and all Kayne can think about is looters from a near distance past smashing shops in Glouster?
In a sense, she’s a culture vulture. Her work is symbolically heavy but loses its edge around her persona. She is an eccentric Italian woman living in Hollywood, living off clay cleanses and protein powder.
White Madonna With Twins, 2006. Photo: © Vanessa Beecroft, 2016
It’s a misconception to claim, white culture and white artists appropriate culture and creativity.Perhaps in general culture but not in the fine art world. There are great artists everywhere. Anglos have the foundations, the network, the powerful patrons . It’s easy to avoid a false path if your parents bought you a gallery. Thanks for sending that article. I’m still thinking about it. I’ve known about her for years. But I finally have succinct feelings about her and her craft. In 2016, I gave up on merely admiring good work and artists. What’s next? What will it mean later?