An open-ended look at contemporary art – both inside the Walker and out – as framed by our Visual Arts curators.
In every work of art, there is a hidden set of influences that the audience may never see: conversations the artist had with peers, exhibitions he or she saw while creating the work, expectations for the medium that were established by predecessors. Throughout The Living Years: Art After 1989, you can see the different ways artists bring other artists, both contemporary and historical, into their work. The dialog between artists is made explicit – the influences no longer need to be guessed at because, for example, the work might be a blatant recreation of an iconic sculpture or it might state flat-out who was involved. In doing so, the artists explore the types of exchanges that occur in the art community and how these define artistic identity.
Mike Kelley and Paul McCarthy’s Fresh Acconci (1995) is fresh in that it is new, with the pair remaking seminal 1970s video pieces by Vito Acconci. But it is also fresh in the way we might refer to a back-talking child. Kelley and McCarthy restage these once intimate videos, placing them in the context of Hollywood and the porn industry. While Acconci’s videos are sparingly staged and naturally lit, this updated version features naked models in a sun-streaked Hollywood hills mansion. The original stand-alone pieces, now sandwiched together into one cyclical 45-minute video work, become a nightmarish playhouse that the performers cannot escape. In choosing to cast glamorous models to play the actors (unlike previous collaborations between the pair where they themselves performed), Kelley and McCarthy are commenting on their own feelings of entrapment by Acconci’s legacy. Yet at the same time, the artists are making an Oedipal attempt to break free of it. In an earlier collaboration, Family Tyranny (1987), recently shown at This Will Have Been: Art, Love, & Politics in the 1980s, the two artists explore the relationship between an abusive father and his son (performed by McCarthy and Kelley, respectively). That video begins with the text, “The father begat the son. The son begat the father.” With Fresh Acconci exploring and criticizing the idea of artistic patrilineage, it could have opened with the very same lines.