As museum and exhibition histories have become significant subjects of art historical investigation in recent decades, museums themselves have subjected some of the most groundbreaking and controversial exhibitions of the twentieth century to reevaluation through elaborate reconstructions. These restaged exhibitions can shed new light on the shifting boundaries of the canon, question long-accepted art historical interpretations, and provide insight into the intersection of art and politics. Restaged exhibitions, however, are not simply exercises in historical research, but often serve as commentary on contemporary issues. A relevant example is the 1991–1992 exhibition ‘Degenerate Art’: The Fate of the Avant-Garde in Nazi Germany, a reconstruction of the 1937 Nazi propaganda exhibition Degenerate Art.[1] Organized by the Los Angeles County Museum of Art, the restaged exhibition introduced late-twentieth-century American audiences to the cultural censorship practiced by the Third Reich at a time when the withholding of federal funding for controversial art was being hotly debated in the United States.[2] It also helped to revive interest in the issue of Nazi art looting, which is now a major subject of research within European and North American museums. Reconstructed exhibitions also focus attention on how and why certain art forms have become canonical. This was the case with the New-York Historical Society’s 2013 exhibition The Armory Show at 100: Modern Art and Revolution, a partial reconstruction of the 1913 International Exhibition of Modern Art.[3] Better known as the Armory Show, this exhibition, held in New York City in February and March 1913, is lauded for introducing European avant-garde art to American audiences and setting the stage for its eventual entry into the canon in the United States. The majority of critics in 1913, however, condemned the Armory Show, perceiving the fauvist and cubist works on display as anarchic, ugly, and even immoral. Revisiting the exhibition a century later allowed for reflection on our changing artistic preferences as new forms of art transition from shock-inducing to canonical. As Ken Johnson of the New York Times noted in his exhibition review of October 10, 2013, “now that the Cubists and the Fauves are museum-certified old masters, it takes some imagination to comprehend what made the Armory Show such a controversial sensation.”
Образы языка
в англо-американском авангарде. 1910-е годы