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The artist on how the former president might not be in on the joke
Artist Andres Serrano on how the former president might not be in on the joke
The MFAH will be the exclusive U.S. Venue for “Gauguin’s World”
From November 3, 2024, through February 16, 2025, the Museum of Fine Arts, Houston, will host an ambitious exhibition of the work of French Post-Impressionist artist Paul Gauguin (1848–1903).
Source: Museum of Fine Arts, Houston · Image: Paul Gauguin, Three Tahitians, 1899, oil on canvas, National Galleries of Scotland, Edinburgh.
“Gauguin’s World” chronicles what curator Loyrette characterizes as Gauguin’s “inner quest for elsewhere” through an expansive survey of his work, from its Impressionist beginnings in Paris, through a period of exploration to Denmark, Brittany, Provence, and Martinique, to its culmination in his last years in Oceania, where he created some of his most iconic paintings. While Gauguin’s World is a comprehensive survey of Gauguin’s prolific career, Loyrette underscores that the show’s narrative is constructed from the perspective of the artist’s last works: “When Gauguin landed in the Marquesas in September 1901, he knew that he had reached his journey’s end; he had at last found his ‘true homeland,’ the place to which he had always aspired. In the 20 months before his death, he continued to develop his art while, in his writings, he set out to review his career as a whole. This is the starting point for an exhibition that reveals that introspection and the art that preceded it, returning to the questions that haunted him as an artist—the challenges that he set himself and solved in his quest for his own identity.”
The exhibition will be organized across six galleries, presenting the arc of Gauguin’s career from the 1870s through his final years, with half of the exhibition devoted to Gauguin’s work in Tahiti and the Marquesas Islands.
Gauguin’s World includes 150 works of art drawn from 65 public and private collections worldwide, including: Musée d’Orsay, Paris; National Galleries of Scotland; National Gallery of Art, Washington; Philadelphia Museum of Art; Cleveland Museum of Art; the Museum of Modern Art, New York; Louvre Abu Dhabi; the J. Paul Getty Museum, Los Angeles; Los Angeles County Museum of Art; National Museum of Western Art, Tokyo; and the Musée de Tahiti et des îles, which is lending both their Gauguins and important 19th-century Marquesan sculptural works.
BY Vic Wu | Opinion
Mark Zuckerberg, the co-founder and CEO of Meta, is no stranger to public scrutiny. His latest public endeavor, a statue of his wife Priscilla Chan, has sparked a wave of discussion that transcends mere artistic critique. The 7-foot-tall sculpture, unveiled on Zuckerberg’s Instagram account to his 14.6 million followers, has been met with a mixture of bewilderment and criticism, particularly from within the Asian community. The choice of design and execution has led to concerns that the artwork unintentionally reinforces harmful stereotypes, portraying Chan in a manner that aligns more closely with an alien being than with the classical beauty and reverence traditionally associated with statues of loved ones.
Alienating or Artistic?
The statue in question is striking, though not necessarily for the reasons one might expect. With a greenish-blue complexion and a cold silver, mylar blanket-like, covering that envelops her body, the figure of Priscilla Chan exudes an otherworldly aura. The emotionless expression on her face, coupled with the alien-like aesthetic, has led some to draw parallels between the statue and the caricatures often used to depict Asian individuals as “other” in Western media. This perception is further compounded by the statue’s resemblance to common depictions of extraterrestrial beings, inadvertently aligning with the unfortunate stereotype of Asians as outsiders.
The critique here isn’t solely based on the visual qualities of the statue but rather on the cultural implications that arise from it. In a time when the representation of Asians in media is scrutinized for its accuracy and sensitivity, the statue’s portrayal of Chan as an alien figure is seen by some as tone-deaf, despite any good intentions behind its creation. This concern is amplified by the context of ongoing discussions about the portrayal of Asians in popular culture, where they are frequently depicted as villains or as fundamentally different from the mainstream.
A Nod to Roman Tradition?
”Bringing back the Roman tradition of sculpting your wife,” Mark Zuckerberg wrote on Instagram when unveiling this unusual work of art to the world.
Zuckerberg’s decision to commission a statue of his wife is indeed reminiscent of the practices of wealthy Romans, who often commissioned sculptures to celebrate their wives’ beauty and elevate their status. However, while Roman statues aimed to glorify and idealize the subject, Zuckerberg’s statue diverges sharply from this tradition. Classical Roman sculptures were designed to evoke reverence and admiration, often depicting the subject in a godly or divine manner. In contrast, the statue of Chan, with its alien-like features, evokes confusion and detachment rather than admiration.
This raises an important question: how does this modern interpretation of a classical tradition reflect on its subject? Although Chan responded on Instagram with the comment, “The more of me, the better?” one doesn’t get the sense that she was entirely pleased with the artwork. It’s likely that most women would prefer not to be immortalized in such an “alien” way.
While the statue was undoubtedly intended as a personal gift, its public display invites widespread interpretation and critique. The Washington Post remarked, ‘Daniel Arsham’s statue of Priscilla Chan is bad,‘ while The San Francisco Standard suggested, ‘It’s a safe bet that it won’t be among the top bid items whenever the Chan-Zuckerberg estate hits auction.’ Meanwhile, Business Insider quoted a therapist who called it a ‘red flag.’ This reception suggests that the artistic endeavor may have missed the mark, failing to capture the essence traditionally associated with such statues.
A Missed Opportunity
When a public figure like Zuckerberg shares a personal gift on such a wide platform, it inevitably crosses the boundary from private to public. By sharing the statue with tens of millions, Zuckerberg has opened the door to public discourse, and with it, the responsibility to consider the broader cultural implications of his choices. The Asian community, in particular, may feel alienated by this representation, seeing it as yet another instance of being portrayed as different or other.
This could have been an opportunity for Zuckerberg to commission a work that not only honored his wife but also celebrated her heritage in a meaningful way. Asia boasts a rich tradition of sculpture, with artists capable of creating intricate and awe-inspiring works. A collaboration with a renowned Asian sculptor could have produced a piece that reflected both the beauty and strength of Chan, while also embodying cultural pride and artistic excellence.
For instance, Chinese artist Luo Li Rong creates life-size bronze sculptures of women, drawing inspiration from Renaissance and Baroque techniques. As Bored Panda notes, “Her statues are often captured in motion, with their dresses or garments seemingly fluttering in the breeze around them, and the artist’s meticulous attention to detail ensures that every crease and fold is precisely where it should be.”
There are many artists of Rong’s caliber across Asia who could have turned Priscilla Chan into a beautiful bronze masterpiece, far surpassing Daniel Arsham’s greenish-blue effigy.
A Question of Sensitivity
While Mark Zuckerberg’s statue of Priscilla Chan may have been intended as a personal and meaningful gift, its public unveiling has invited criticism that cannot be ignored. The statue’s alien-like aesthetic, combined with its broader cultural implications, suggests that this was a missed opportunity to create a work of art that truly honors its subject. Instead of celebrating Chan’s identity and heritage, the statue risks perpetuating harmful stereotypes and alienating the very community it might have sought to uplift.
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The portrait of the Duke of Saxony, attributed to Lucas Cranach the Elder and his workshop, will be auctioned by Christie’s in New York in January 2025
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Meanwhile, a screen that Charles Dickens decorated with the actor William Macready is returning to its historic home in Dorset UK
BY MARK ANDERSON
The saga of “Salvator Mundi,” a painting attributed to Leonardo da Vinci, continues to captivate the art world with its mysterious journey and uncertain future. This Renaissance masterpiece, depicting Christ with a serene expression and a raised hand in blessing, sold for a staggering $450 million at Christie’s in 2017, making it the most expensive artwork ever auctioned. However, since its sale, the painting has vanished from public view, leaving experts and enthusiasts alike speculating about its whereabouts.
Recent reports suggest that the elusive painting may soon re-emerge as the centerpiece of a new museum in Riyadh, Saudi Arabia. The painting’s purchase by Saudi Crown Prince Mohammed bin Salman, widely known as MBS, was initially shrouded in secrecy, with his identity as the buyer only revealed through subsequent media reports. Since then, rumors have swirled about the painting’s location, with some speculating that it was being housed on MBS’s luxury yacht, the “Serene.”
However, new revelations have come to light, suggesting that “Salvator Mundi” has been stored in a vault in Geneva, Switzerland, since its purchase. This information was brought to the fore in a BBC documentary, where Bernard Haykel, a professor of Near Eastern Studies at Princeton University and a close associate of MBS, disclosed that the painting is being kept safe in Geneva, awaiting its eventual display in a yet-to-be-built museum in Riyadh.
The planned museum, according to Haykel, is envisioned as a cultural landmark that will draw visitors from around the world, with “Salvator Mundi” serving as its anchor exhibit, much like the Mona Lisa at the Louvre in Paris. This ambitious project is part of MBS’s broader vision to modernize Saudi Arabia and establish it as a cultural hub in the Middle East, a plan that also includes significant investments in sports and entertainment.
The potential unveiling of “Salvator Mundi” in Riyadh has sparked both excitement and controversy. Some see it as a strategic move by Saudi Arabia to enhance its global cultural standing, while others view it as an attempt to “art-wash” the country’s controversial human rights record. The painting’s association with MBS has been particularly contentious, given the crown prince’s alleged involvement in the murder of journalist Jamal Khashoggi in 2018, a claim that MBS has consistently denied.
Adding to the intrigue is the ongoing debate over the painting’s attribution to Leonardo da Vinci. While some experts are convinced of its authenticity, others question whether the work was truly created by the Renaissance master. The painting has undergone extensive restoration, which has led to disputes over the extent of Leonardo’s involvement in its creation. The National Gallery in London, which featured the painting in a 2011 exhibition, has also faced criticism for its role in promoting the work as a genuine Leonardo, a move that significantly boosted its value at auction.
Despite these controversies, “Salvator Mundi” remains a highly sought-after piece of art, with its value and significance undiminished by the questions surrounding its provenance. The painting’s potential display in a Saudi museum could mark the end of its enigmatic journey, providing the public with a rare opportunity to view this masterpiece once again.
As Saudi Arabia continues to expand its cultural and artistic ambitions under MBS’s leadership, the story of “Salvator Mundi” serves as a potent symbol of the intersection between art, politics, and power. Whether the painting will ultimately fulfill its role as the “male Mona Lisa” in a new Saudi museum remains to be seen, but its journey thus far has undoubtedly secured its place in the annals of art history.
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The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
The post Where is Salvator Mundi? World’s Most Expensive Painting Set to Become Saudi Arabia’s Crown Jewel in Billion-Dollar Museum Gamble appeared first on World Art News.
The largest gift, a $4.3m renovation grant, will help restore the historical Art Students League to its former glory