Art for the Sake of Art

The thought of “Modern Art” can seem like a daunting and sometimes inexplicable concept for one to grasp. The dull roar of a blank canvas can seem overwhelming to an audience who are trying to discover some shred of meaning behind the plain, white gesso. But what if the constant search to find the significance within an artwork was completely removed from the equation?

Spanish artist, Maurizio Cattelan leaves his viewers with only their own comprehension of his unexpected installations and a relief for his ability to create art for the sake of art. Cattelan works simply to evoke an emotion; he has attempted to break the mold of typical modern art and gives his audience a good laugh. His large, life-sized wax sculptures are derived from strong themes that are rooted in religion, sexuality, and death. They generate a reaction from the audience that range from intrigue, to offense, to awe struck.

Cattelan’s most recent show, “All”, at the Guggenheim Museum, is an exhibition of his entire body of work, the most interesting part; it has been suspended from a contraption at the museum’s atrium. Entering the room, a rush of excitement runs through the room as visitors gaze at the massive cluster of work dangling weightlessly from the ceiling, trying to define each piece. As you ascend the Guggenheim’s famous spiraling ramp, the sculptures begin to become more discernible. An “I spy” game starts between couples and groups. A poor Pope John Paul II has been struck down by a meteor amidst some young children and anonymous bodies who have been hung in the middle of the museum. A taxidermy elephant who is covered in a white sheet with the eyes cut out, gazes at visitors and each piece is savored with it’s own identity. Cattelan uses intense images in an ironically humorous way to push the boundaries put on society. He portrays themes to his viewers which may be upsetting or outlandish to some. But whether it be religious or politically incorrect, the pieces become more interesting as the ramp climbs higher to the top. A horse has gotten his head stuck through a wall and a little old lady named Betsy is hiding in a refrigerator.

Large Billboards of perfume ads and canvases with a slashed Zorro like ‘Z’s hang among wax figures and taxidermy. Cattelan’s most infamous sculpture sways gently at the top. Viewers crowd around a praying child-like Hitler, speaking volumes about religious themes and pure irony. All of the installations have been shown in major international forums such as the Tate Modern in London and were typically meant to be shown as performance pieces. Having been viewed by thousands of people world wide, Cattelan’s refreshing take on art is surprising to many. His genuine love for creating art for his own enjoyment exposes the quirky thrill that he takes in his own career and translates into his compositions. His exhibition at the Guggenheim is in it’s final weeks, but is greatly recommended to see before it leaves town to get a good laugh and a new take on modern art.

Open through the 22 of January at the Guggenheim