{"id":1419,"date":"2010-01-01T17:39:11","date_gmt":"2010-01-02T01:39:11","guid":{"rendered":"http:\/\/www.artsjournal.com\/anotherbb\/wp\/2010\/01\/christopher_knight_responds\/"},"modified":"2010-01-01T17:39:11","modified_gmt":"2010-01-02T01:39:11","slug":"christopher_knight_responds","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/anotherbb\/2010\/01\/christopher_knight_responds.html","title":{"rendered":"Christopher Knight responds"},"content":{"rendered":"<div class=\"comment-content\">\n<blockquote><\/blockquote>\n<p>He&#8217;s replying to two items in <a href=\"http:\/\/www.artsjournal.com\/anotherbb\/2009\/12\/links---let-soldiers-in-free.html#comment-28607\">this post<\/a>:<\/p>\n<blockquote>\n<p>I&#8217;m taking a<br \/>\nbreak from the Tournament of Roses&#8211;no sighting of Jeff Koons&#8217; &#8220;Puppy&#8221;<br \/>\nyet&#8211;so two quick things. First, thanks for the kind words. Second,<br \/>\nyou&#8217;re wrong about Koons and about Cezanne.<\/p>\n<p>Koons career did not take a nose dive after the critical beating of<br \/>\n1991&#8217;s &#8220;Made in Heaven.&#8221; In a stand-alone article the New York Times<br \/>\nsaid of &#8220;Puppy,&#8221; his Documenta scene-stealer the following year, &#8220;The<br \/>\nwork seems intended to redeem his reputation in the wake of his<br \/>\ncontroversial exhibition at the Sonnabend Gallery in New York last<br \/>\nfall, dominated by pornographic paintings of the artist making love to<br \/>\nhis wife, the Italian porn-star Ciccolina.&#8221; The review&#8217;s author,<br \/>\nRoberta Smith (who knows Jerry Saltz), then rendered her verdict: &#8221;<br \/>\n&#8216;Puppy&#8217; shows Mr. Koons at his goofy, innocent best&#8230;&#8221; Six months<br \/>\nlater a well-received mid-career Koons retrospective opened at the San<br \/>\nFrancisco Museum of Modern Art, and in 1993 it traveled to the Walker<br \/>\nArt Center. Few artists I know would consider a stand-alone rave in the<br \/>\nNYT followed by a retrospective hosted by SFMOMA and the Walker to<br \/>\nrepresent a period of career nose-dive.<\/p>\n<p>As for Cezanne: Hickey said nothing in his Smithsonian lecture about<br \/>\nwhere artists choose to live and work. He was speaking about art&#8217;s<br \/>\nreception, which was the reason I referred to his comments. Cezanne<br \/>\ncertainly did well painting at his remote cabin at Bib\u00e9mus Quarries,<br \/>\nfor example. But it was his posthumous 1907 retrospective at the Salon<br \/>\nd&#8217;Automne &#8212; in cosmopolitan Paris &#8212; that made him the most<br \/>\ninfluential artist of the early 20th century. Call me crazy, but had<br \/>\nthe show been mounted in a lovely village around Aix-en-Provence, that<br \/>\nprobably would not have been the outcome.<\/p>\n<p>Meanwhile, in Pasadena, I just saw a giant, marigold-covered blowfish go by. Yikes!<\/p>\n<\/blockquote>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>He&#8217;s replying to two items in this post: I&#8217;m taking a break from the Tournament of Roses&#8211;no sighting of Jeff Koons&#8217; &#8220;Puppy&#8221; yet&#8211;so two quick things. First, thanks for the kind words. Second, you&#8217;re wrong about Koons and about Cezanne. Koons career did not take a nose dive after the critical beating of 1991&#8217;s &#8220;Made [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-1419","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/1419","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/comments?post=1419"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/1419\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/media?parent=1419"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/categories?post=1419"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/tags?post=1419"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}