![]() To that end, the podcast serves a window into another world, its threads as launchpads for larger ideas. #Moca museum of crypto art series#The underlying story appears to be clear: She rocked the boat too much for the powers that be.ĭeath of an Artist does that thing you want from a narrative series that means to be more than a genre exercise: It’s itching to hang in a bigger frame, to transcend merely being a routine crime procedural. The exact details of what happened are somewhat obscured from the public, but the Los Angeles Times reported that the institution’s director, Philippe Vergne, had fired her despite her head-turning run, during which she elevated artists not traditionally associated with the formal art world. Most prominently, Molesworth was the chief curator of MOCA Los Angeles from 2014 to 2018, when the museum abruptly and controversially dismissed her. She’s a veteran art-world operator whose career as an influential curator was shaped by her outspoken views on the art world’s insularity and deficiencies. Molesworth, who also wrote the series, makes for an intriguing shepherd of this story. Meanwhile, Andre’s reputation and legacy progressed largely unimpeded. They don’t want to talk about what the ramifications of that night were on the art world, they don’t want to contemplate what it means when a community is torn apart by violence, and they don’t want to discuss whether or not justice has been served.” What exactly happened to Mendieta was seemingly swept aside by the Establishment. As the series settles into its premise, she describes a veil of silence that has emerged in decades since: “Most folks don’t want to discuss what happened that night. Mendieta’s death divided the art world - and as Molesworth notes, it still does. Andre would be charged with second-degree murder and was later acquitted. As it’s usually recounted, they were having an argument when she fell out the window of their Greenwich Village apartment. She eventually developed a relationship with Carl Andre, the celebrated minimalist artist with whom she would enter both a creative partnership and marriage, one generally described as “turbulent.” Andre was present the night of Mendieta’s death. Mendieta would become a rising star in the New York art scene of the late ’70s and early ’80s. The series opens with host Helen Molesworth describing one of her earlier works, a staged scene in Iowa City commenting on the rape and murder of a student at the local university that starts with the laying of blood on a busy sidewalk in front of her apartment. As emphasized by Death of an Artist, a new audio documentary series by Pushkin Industries and Somethin’ Else, the death of the Cuban American artist Ana Mendieta is one of those problems.Ĭelebrated in its time, Mendieta’s art was provocative. So when there’s an event that threatens to interfere with the cohesion of that network, it’s a problem for the art world. It just consists of a relatively small network of people and institutions that’s disproportionately powerful and influential over the creation, distribution, and value transfer of artistic works. But what I presumed to be the main takeaway did leave a lasting impression: What we broadly recognize as the art world isn’t necessarily the art world but an art world. The sociologist Howard Becker once described “the art world” as “cooperative activity” that, “organized via their joint knowledge of conventional means of doing things, produces the kind of art works that the art world is noted for.” I first read his text on the matter, Art Worlds, as a freshman in college … by which I mean I skimmed the first few chapters, as my soft brain folds had yet to develop the capacity for dense prose. ![]()
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