There’s something sublimely absurd about the world of modern art, something that leaves it open to brutal mockery. From the affected outfits sported by scenesters to the enormous fees the grotesquely wealthy pay for objects that make a mockery of the very idea of art, everything about the Art Basel set cries out for abuse.
It would be fun if streaming services provided any useful data about their viewership. Then, we’d be able to declare an official winner between the dueling documentaries about the ill-fated Fyre Festival. But the producers of Fyre Fraud (Hulu) and FYRE: The Greatest Party That Never Happened (Netflix) probably don’t care—both movies are receiving plenty of attention. So let me just cut to the chase: The Netflix one is better.
Watching two people argue about art is like watching two people try to ice-skate uphill. It happens often at the New York Museum of Modern Art, where visitors can tend to bring friends whose interest in abstract art is weakened by seeing abstract art. The MOMA has reignited debates about aesthetics and art with its Constantin Brancusi Sculptures exhibit, which arranges 11 sculptures that have never before been exhibited together. Brancusi (1876-1957) knew his abstract sculptures and those of his friends—Marcel DuChamp was one of them—would not always be welcomed by critics, but he couldn’t have known that his work would also lead the United States to reconsider what its law constituted as “art.”
At the request of Free Beaconhead honcho Michael Goldfarb, I recently checked out Sgt. Stubby: An American Hero. Though dismissive at first of the idea of reviewing an animated film about America’s most-decorated dog, I eventually came around. After all, as Mr. Goldfarb put it: “Every cartoon my kids watch is cramming social justice bullshit down their little throats and finally—a movie about killing the Hun!”