Reply With QuoteIt seems to be getting a lot of criticism from art critics/museum-types, but I'm sure I'll still enjoy it.
It seems to be getting a lot of criticism from art critics/museum-types, but I'm sure I'll still enjoy it.
this is a quote from one of the reviewers:
http://www.wnyc.org/story/bjork-moma...eid=e2e26b3394Solomon said the video and the song, like much of the album, is about the breakup of her relationship with the artist Matthew Barney. “There is nothing wrong with revenge in art, I think revenge is a great motive for all kinds of art,” said Solomon. “But I didn’t feel like she really rises above her anger in the show. I felt the white elephant in the room was Matthew Barney. He was an influence in her work and I think that should have been acknowledged.
WTF?!?! So at Bjork's gallery show at a major museum, she is supposed to thank her ex-partner for his influence? WOULD THEY EVER SAY THAT ABOUT A MAN?
It is getting trashed. I hear it is a nightmare to navigate. I'll probably try going during a weekday then.
That's absolutely ridiculous. How is Vulnicura about revenge? Why would Barney need to be acknowledged? I did read a few reviews of the exhibit (general consensus is that it sucks) and one did say that Bjork having the exhibit at MoMA was a way to get revenge at Barney because he had an exhibit at the San Francisco MoMA. I was like WTF? Another thought the show was sexist because no male musician would've been given such a half assed exhibit.
I know me too.Originally Posted by .chris
It is getting trashed
Didn't she collaborate with him on an audiovisual project? Seems completely normal to speculate on his absence from a retrospective like this.
Yes, but what does that have to do with the bulk of her work? Its about her career. Not his. Certainly, Barney wouldn't be expected to include Bjork in his exhibit because they worked on a thing together once.
BTW that assface critic doubled down in the comments section:
So...we have to thank her male ex-partner and ALSO her dad for all the influences. Except fuck her mom cause who cares what she did. Probably just cooked dinner and shit.Dear Mary and Dear Daniel!
Thank you for writing. Yes, of course a romantic break-up is a legitimate subject for art. In this case, Bjork's "Black Lake" struck me as artistically unadventurous. It repeats earlier work. Which is why I said it seems to be about nothing more than sticking it to her ex, whom she openly accuses of abandoning her and the family.
You say it was wrong of me to ask that Matthew Barney be acknowledged in the show and its accompanying catalogue. I do feel it was petty of the museum to exclude the soundtrack of his Drawing Restraint 9 from the show. (That is the film for which Bjork wrote the score.) Also, the catalogue for the exhibition fails to place her work into a meaningful biographical context. For instance, Bjork deserves credit for bringing electronic beats into mainstream pop, but there is no mention in the catalogue of her father, a master electrician who heads the electricians' union in Iceland, and no doubt had at least a bit of influence on her work.
Thanks again for writing,
Deborah
I still maintain they would never do this to a male artist. Period. Male artists are not asked to acknowledge their female influences in their exhibits.
Her dad was an electrician, so we must credit him for Bjork's techno beats.
I have never heard such shit. I couldn't even make that up.
But apparently there's no mention of any of her major collaborators like Michel Gondry or Alexander McQueen. Barney should be the last person anyone should be concerned about being excluded.
Clearly, they did not have their penis inside Bjorks vagina, thus injecting her with their Genius Sperm That Made Her Do Music Good. Matthew Barney made sex and babies with Bjork so she got all that creativity and art stuff!
Relevant Björk interview snippet from Pitchfork:
Pitchfork: When it was originally misreported that Vulnicura was produced by Arca, instead of co-produced by you and Arca, it reminded me of the Joni Mitchell quote from the height of her fame about how whichever man was in the room with her got credit for her genius.
Björk: Yeah, I didn’t want to talk about that kind of thing for 10 years, but then I thought, “You’re a coward if you don’t stand up. Not for you, but for women. Say something.” So around 2006, I put something on my website where I cleared something up, because it’d been online so many times that it was becoming a fact. It wasn’t just one journalist getting it wrong, everybody was getting it wrong. I’ve done music for, what, 30 years? I’ve been in the studio since I was 11; Alejandro had never done an album when I worked with him. He wanted to put something on his own Twitter, just to say it’s co-produced. I said, “No, we’re never going to win this battle. Let’s just leave it.” But he insisted. I’ve sometimes thought about releasing a map of all my albums and just making it clear who did what. But it always comes across as so defensive that, like, it’s pathetic. I could obviously talk about this for a long time.
I feel like this was a pretty good article about all the MoMA drama: http://thump.vice.com/en_us/article/...thumptwitterus
