I realized that I forgot to discuss at any length my trip to various art museums in London. So, here is an account of my foray into the wider world of art—according to Britain.
The National Gallery looks out onto Trafalgar Square (find a history of the building here). The building itself is massive and houses thousands of paintings in room after room. The group that I went with found themselves lost in the maze of interconnected rooms. Sure, the collections are divided by period, but when one was distracted by William Turner or Titian, one room seemingly spilled out into the next. Disoriented and confused, it often took several minutes before we could find our way out of the labyrinth.
I should note that we only saw about twenty, maybe thirty, percent of the museum. We were warned that you could spend hours and even days on end in the museum but never truly heeded the warning.
Tired and ragged, we trekked on to the National Portrait Gallery. I should pause for a moment, for I went into this museum with low expectations. I never expected this museum to house any works of art but the typical “woman-seated-staring-at-a-diagonal” type of portrait. Or a bust of an obscure member of Parliament from the 18th century. I did not want to see this, to be honest, because I prefer art with sunlit scenery, some shock value, or images that did not focus solely on human features. I imagined myself walking mindlessly through halls lined with hundreds of identical portraits.
The National Portrait Gallery had all of that, but I’ve never been so wrong about a museum. I found paintings, photographs, busts and other, more abstract, media used to trace the human features of celebrities, average people, and, yes, even obscure members of Parliament. But even the people I did not recognize were immortalized by outstanding and, in many cases, awe-inspiring portraits and sculptures. Take, for instance, one of the paintings submitted to the 2009 BP Portrait Award. They were just incredible (here’s one example). This museum gracefully balanced the shocking and the more tame, the popularized and the relatively obscure. It’s all I ask for in a museum, and something rarely seen in art museums I have seen in the past.
This brings me to the next art museum I visited – the Tate Modern. Again, I think a pause is in order. Having only one course surveying the history of art since the Renaissance, I cannot declare myself all-knowing with regard to art. By the same token, I can appreciate all art. Especially when its definition is psychologically and visually questioned and, in some cases, shattered. I appreciate modern art for this reason; it tacks on an imminent and bold question mark next to the word “art,” and thereby forces us to question the painting/photograph/slideshow/etc. before us. “I could (never) do this” is often heard at these exhibits. As an art history professor explained to me during the course, these people (the Rothkos, Koons, and McCarthys) of the world) DID do it. And that is why it is art. Their expressions of limitless passion and angst and joy spill out into these exhibits, begging for a smiling or a wincing, almost riotous, audience.
The Tate Modern at night. Disturbingly brooding? Or pleasantly shocking?
Although I have studied art prior to visiting these museums, I looked for a distinctly “English” way of displaying art. Their art included famous works Americans can only view on posters or through a search on the Internet. Moving beyond that initial shock of standing before works including Turner’s “Rain, Steam and Speed”, you can look around and see throngs of art-hungry visitors to the museum. Look closer, and you hear French, Italian, and other languages. Crowds of people from across Europe and, more specifically, England fill the labyrinthine halls. Surely not everyone in London is an art connoisseur, but there’s certainly much diversity to be seen.
Whether you’re revolted or relaxed by the work, at least you had a reaction. Art is universal, it seems, whether you’re in America looking through great art in a book or you’re the very room containing that work.
_____________
If you are interested in some light reading, I suggest an article by Jack Handey in the New Yorker a few years ago. It’s pretty funny and mocks some of the more criticized aspects of modern art.
