Still here, rambling on…(and some Caravaggio)

Hello, my lovelies!
It’s an age since last I gifted to the world my perspicacious insight (read “facetious ranting to minimal effect”) on matters artisitic, but to be honest there’s not been much that’s grabbed my attention.
I did consider adding my two-pennyworth on our Damien’s latest ‘Verity’ monstrosity, but the vitriolic, almost spiteful attacks against it – and him – by all and sundry have left me disinclined to jump back on this juggernaut of a bandwagon.
To wit: from today’s Guardian, Peter Duggan’s Artoon:

Too cruel.
Besides, if you didn’t think he was a cack-handed, talent-free zone twenty years ago, IT’S TOO LATE NOW, you ridiculous, fad-following, tightly-tousered numpty.

Anyways…
This post isn’t for you, it’s for me.
By complete accident/serendipity/whatevs I stumbled upon a really wonderful (to me) short but beautifully articulated talk by Ben Quash, Professor of Christianity and the Arts at King’s College, London, part of BBC Radio 3’s The Essay series on Caravaggio from a couple of years ago.
He talks about The Taking of Christ:

The Calling of St Matthew:

and about how the painter uses light, dark, space to lend these great, great works their huge emotional/religious impact; creating a kind of ‘God of the Gaps’ to which even a godless heathen like me cannot fail to respond.
Some BBC accompanying blurb:

“Tonight’s essay… maintains that in his great religious paintings such as The Calling of St. Matthew and The Raising of Lazarus Caravaggio is a master of capturing movement and the vibrancy of exchange. Furthermore, it is contended that in depicting exceptional relations between people and things in his religious works, the artist who espoused a turbulent and morally doubtful way of life, came as near as is possible in painting to representing God.”

Listen to Professor Quash (great name: In the Bathroom! With the Loofah!) here.

As I say, this is really for me: a way of keeping something rather marvellous to hand. I hope you enjoy it, but if not, no matter.
See you again when I can think of something vaguely interesting to say.

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PS If you did enjoy it, here‘s another one by another Light of My Life and tip-top Caravaggio scholar Andrew Graham-Dixon, in which he talks about the painter’s dramatic last years: the ‘murder’, his time as a Knight of Malta… and, not least, his legacy and influence on those great artists who came after.
What’s not to love?

Sharks ‘n’ Sh*t… (lest we forget)

Right. Where were we?
Ah, yes: “disaffected cynicism”.
(And, in case you’re just about to have your tea, a healthy dose of the scatological.)

It’s a good while since I dusted off my All-Purpose-ArtiBollox-Detector™ (with optional Nut-Crusher) and went Damien-bashing; I began to think it was tediously easy; more to the point, post the monumental display of unbridled hubris that was the Gagosian/Hirst collaboration and then those appalling new ‘paintings’, every bugger was at it.
I hate a bandwagon. So much so, I actively sought out positive reviews. Just for the change.
“Poor Damien. He’s alright, really. I’d buy him a pint.”

Then I remembered: he’s made, like, a gazillion quid from getting other sackless sods to make shite.
He can buy me a pint.

Instrumental in returning me to my senses was a quote in last week’s Guardian from the late, great Robert Hughes (yes, him again; you can’t have too many Hughes quotes):

“The publicity over the shark created the illusion that danger had somehow been confronted by Hirst, and come swimming into the gallery, gnashing its incisors. Having caught a few large sharks myself off Sydney, Montauk and elsewhere, and seen quite a few more over a lifetime of recreational fishing, I am underwhelmed by the blither and rubbish churned out by critics, publicists and other art-world denizens about Hirst’s fish and the existential risks it allegedly symbolises.
One might as well get excited about seeing a dead halibut on a slab in Harrods food hall.”

Ya see?
Degrees of separation between Hirst and experience; between Hirst and authenticity; between Hirst and the real world. What kind of deluded, lily-livered namby-pamby wuss are you, Jonathan Jones, – “No encounter with a contemporary work of art has ever thrilled me like the day I walked into the Saatchi Gallery in 1992 and saw a tiger shark’s maw lurch towards me…” (you lurched towards it, by the way) – if you sustain ‘visceral shock’ over a pimped-up fish-bowl in the admittedly life-threatening, elemental confines of a London art gallery?
Embodied ‘primal fear’ as felt when viewing Jaws from behind a cushion, and to which the only reasonable response is “Big, innit?”

So, Hirsty, in memory of Mr Hughes, consider hostilities well and truly resumed.

On Sunday, happily, I came across this review, and delicious kick to boyo’s nethers, in Charisma Robot’s Day Trips to the Void blog, which reminded me how much fun Damien-bashing is when you put your mind to it. So moved was CR by Hirst’s oeuvre, she/he spent literally minutes creating this heartfelt homage:
Bottom Boom: A Conceptual Fart:

“Bottom Boom captures a moment frozen in time, a moment of existence, an action, that can never be experienced in that quintessential way ever again. Bottom Boom is a study on ontology and the way it delineates our existence… The wonder of the body in motion meshing with time and existence, having awareness of itself and its death, the waste of lives ever moving in a cycle of creation and destruction. The ebb and flow, the yin and yang, the immorality and the morality bla bla bla bla…”

Yes. CR farted into a glass box. Or pretends she/he did. Or, more likely, got someone else to do the farting. Either way, so very ‘Hirstian’.
(Of course, I could add that this work clearly references and engages in debate with Piero Manzoni’s Merda d’artista (1961), but that would be talking crap, and we can’t have that.)

Serendipitously, (the Blessed Robert was surely guiding my hand by now) I then stumbled upon an ancient (2008) article from The Daily Squib:
“Arse Hole, by Damien Hirst”:

“The painting is part of the Hirst ‘Arse Series’ where he depicts himself as the contemporary ‘anal bullshit’ con-artist that he is.
“‘I aim to paint myself as limitless angular momentum in constant toilet flushing flux. My anal sphincter muscles loosen and expel hydrostatic equilibrium into the anus-sphere of existence and of course stick a dead fucking cow in there too,” Hirst writes in Arthole magazine.”

Tee-hee.
I know, I know…
Puerile, facile, really not helpful. Cheap shots, for sure, with far too much ‘arse’.
But Hirst’ll do that to you.
Anyway, I’ve spent the last fortnight in a state of Olympics-induced beatific magnanimity.
It was never going to last. 😉

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Because it’s Shark Week: Ten Fun Facts About Jaws by Holditnow.