There is a show right now at the Guggenheim Museum in New York City that is sort of related to my current Film Architecture theme, The Future is Asian. It is called “The Third Mind: American Artists Contemplate Asia,” and the exhibitions’ webpage is here.
The quality of the Guggenheim’s gallery spaces notwithstanding, it’s appropriate that the exhibition is being mounted in a Frank Lloyd Wright building, for FLW himself was heavily influenced by Asian artists. He was an avid collector of Japanese painting and prints (at one point supporting his architectural practice by dealing in Japanese prints), and some of his works show a very distinct Asian influence. Below is his Imperial Hotel near Nagoya, Japan.
Frank Lloyd Wright’s work, however, wasn’t explicity featured in the “Third Mind” exhibition (you could argue that the museum itself was a sort of third presence in the exhibition). In fact, I think the one impression I was left with during and after the show was the impossibilty of the curatorial mission. Imagine you are to select 100 pieces of artwork that are supposed to demonstrate the influence of Asia (already a dubious concept) on America (another dubious concept). Who do you select? Who do you leave out? What constitues an “Asian influence?” A specfic sort of minimalism? Or a brand of expressionism? Or a strain of geometric patterning? It just leaves me wondering, What is Asian? What is American? And boy, the Guggenheim NY sucks for displaying art.
However, this isn’t to say the exhibition wasn’t worthwhile. Museums are always fun (at least to me, minus the fact that you have to trek all the way up to the Upper East Side). Though there certainly were some headscratching works, there were a handful of transcendent works from Agnes Martin and Hiroshi Sugimoto, as always, but whose works don’t duplicate well (you have to stand in front of them). Nothing Asian or American about it. Simply transcendent.