The New York Times apparently can’t get past the nudies at MOMA’s current blockbuster, “Marina Abramovic: The Artist Is Present.”
(Campaign Outsider’s unblushing review here.)
But back to the nudies from the Saturday Times Abramovic Watch:
Probably the most talked-about part of the exhibition — generating headlines like “Squeezy Does It” in The New York Post — is a re-creation of a 1977 work in which Ms. Abramovic and her partner then, the German artist Frank Uwe Laysiepen, known as Ulay, faced each other naked within the frame of a gallery doorway, forcing people who wanted to enter to squeeze between them. Throughout the day at MoMA, some people did submit to the squeeze, with both men and women generally turning to face the female performer when there was a male-female pairing at the door.
But easily two-thirds of MoMA patrons moving from the first gallery into the second stared over at the flesh-flanked doorway — some people staring for an inordinately long time — and then decided to take the art-free route, through a plain doorway that required no bodily contact.
“I just can’t do it,” said Maria Gabriela Madrid, a fiction writer from San Antonio. “I feel like it’s too personal, too much of an invasion of their space.”
Handy pictorial insert:
This comes in the wake of Times art critic Holland Cotter’s review a week ago. Handy pictorial insert:
“Marina Abramovic: The Artist Is Present”: A visitor at MoMA walks between Jacqueline Lounsbury, left, and Layard Thompson, both naked in a doorway. More Photos >
Campaign Outsider Thoroughly Uninformed Art Critique®:
Marina Abramovic’s performances are simply attempts to create socially significant happenings.