Art - “Very great bosh”
Monday, January 26th, 2009Two or three years ago there was a three-handed play going the rounds called Art. It had quite well-known actors but, typical of me, I don’t remember their names.
The focus of the play was that one of the cast had bought a painting which was all white on a white ground. The plot centred around the three friends falling out over the question of whether it was art.
It rang a big clanging bell with me when I went to the Tate Modern on Sunday to visit the Rothko exhibition in its last days. I had seen photographs of Rothko paintings and not been able to make much of them but Lyn Barber, a writer and interviewer I much admire, raved over them.
In the show there were a number of canvases ranging from big to huge. Some had squares on them, others were black on black. Some lines had feathered edges, others were straight. There were maroon squares on red backgrounds, shapes that looked like wickets were painted on to a matt background of another colour. There were canvases in which the top two thirds were black and the bottom third grey. Some only differed in whether the separating line was sharp or fuzzy.
Buzzing round my head was the question asked in Brideshead Revisited by wise child Cordelia of Sebastian Flyte’s friend, artist Charles Ryder. “Modern art is bosh, isn’t it?”
“Very great bosh”, he replied.
My wife whispered to me: “The emperor’s new clothes come to mind”.
The exhibition was crowded but there was no way of working out what others were thinking as they passed in front of the canavases listening to the commentary players which nevertheless failed to convince me that the whole thing wasn’t a con.
I saw some canvases by another modern artist, Cy Twombley who may still be alive. It wasn’t simply that a baboon could have reproduced the squiggles; they looked as though a baboon HAD painted them.
Art is, of course, in the eye of the beholder, but I could only quietly repeat toi myself Charles Ryder’s words: “Very great bosh”.