{"id":1813,"date":"2023-03-13T12:58:39","date_gmt":"2023-03-13T04:58:39","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=1813"},"modified":"2023-03-13T12:58:39","modified_gmt":"2023-03-13T04:58:39","slug":"wangechi-mutus-excellent-new-museum-survey-transports-viewers-to-other-worlds","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/wangechi-mutus-excellent-new-museum-survey-transports-viewers-to-other-worlds\/","title":{"rendered":"Wangechi Mutu\u2019s Excellent New Museum Survey Transports Viewers to Other Worlds"},"content":{"rendered":"

\"A<\/p>\n

Art historians, like emissaries of pretty much any other discipline, love to box people in, and part of the joy of\u00a0Wangechi Mutu<\/a>\u2019s art is that it is virtually impossible to categorize\u2014a fact that her otherworldly survey at New York\u2019s\u00a0New Museum<\/a>\u00a0only seems to underline.<\/p>\n

What might you call\u00a0Moth Collection\u00a0<\/em>(2010): a painting, a sculpture, an installation, or some combination of the three? It\u2019s a piece comprising pairs of small porcelain legs affixed to the wall, each with oversize wings for a body. Some are arranged in uneven grids; others drift apart from those grids to float freely in space. The wall itself is thinly painted in cerulean that\u2019s left to drip down toward the floor.<\/p>\n

And what might you say is depicted in\u00a0Sleeping Serpent\u00a0<\/em>(2014), the 78-foot-long work that currently traverses much of the New Museum\u2019s third floor? As you walk along the snake-like form, following its curlicuing body, passing by its pregnant belly, you may be shocked to see the creature culminate in a sculpted human head that rests peacefully on a plush pillow.<\/p>\n

Countless other objects in Mutu\u2019s show attest to an artist who, in the past two decades, has built a universe that\u2019s all her own, replete with her own set of artistic rules.<\/p>\n

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\"A<\/div>\n<\/div>
Installation view of\u00a0Wangechi Mutu: Intertwined<\/em>, 2023, at the New Museum, New York.<\/span>PHOTO DARIO LASAGNI<\/cite><\/figcaption><\/figure>\n<\/div>\n

Her excellent New Museum show, curated by Margot Norton and Vivian Crockett with Ian Wallace, arrives at a time when many younger artists are envisioning realms far removed from our own, populated by hybrid humans and bewitching animals. Few can hold a candle to the epic project that Mutu has undertaken, however. She is the rare artist whose work has grown only more convincing as it\u2019s become increasingly surreal over the years.<\/p>\n

Things start off in style on the first floor, with\u00a0In Two Canoe<\/em>\u00a0(2022), the newest work in the show. Here, a pair of giant creatures, each with cabbage-like forms for faces, crouch in a low boat filled with water. Their arms split outward like the roots of mangrove trees, a plant that has \u201cmoved everywhere, has made journeys like those who were kidnapped from Africa and taken to the Americas,\u201d as Mutu once noted.<\/p>\n

This is not just a foray into fantasy. A Kenyan who studied art in the United States, Mutu is now based between New York and Nairobi. Her work, with its mashed-together mediums and cultural intermingling, is born of the same diasporic sensibility that has guided her life. Drawing on unreality is, for Mutu, a means of processing her reality.<\/p>\n

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\"A<\/div>\n<\/div>
Installation view of\u00a0Wangechi Mutu: Intertwined<\/em>, 2023, at the New Museum, New York.<\/span>PHOTO DARIO LASAGNI<\/cite><\/figcaption><\/figure>\n<\/div>\n

The earliest works in the show evince that. Her 1997 \u201cBottle People\u201d series, made while Mutu was still a student at New York\u2019s Cooper Union art school and had few resources, features discarded beer bottles that she painted black and turned corporeal by way of cowrie shells that look like eyes. That Mutu could summon alien beings with such an economy of means is a testament to her talent from a young age. That she could incorporate references to so much history using so little\u2014cowrie shells were employed as currency between Africans who traded enslaved people, and the bottles look back to the altered found objects culled from urban detritus of Jasper Johns and Robert Rauschenberg\u2014is nothing short of astounding.<\/p>\n

But it\u2019s the collages of the mid-2000s that made Mutu famous, and it\u2019s the collages many viewers will be here to see.<\/p>\n

Some of the most provocative ones feature pornographic images of Black women. Her \u201cMUD\u201d works (2003) turn these sexualized pictures, in which little is left to the imagination, into something a lot more mysterious, with splotches of dried brown grime covering the more revealing bits. In one, a mass of filth appears to pour forth from one woman\u2019s genitals, hiding nearly all but one leg with a strappy high-heeled shoe on its foot.<\/p>\n

The \u201cMUD\u201d works prove so striking because they undermine the piercing male gaze that has historically been cast upon models like these. Later collages grew in scale and ambition, and furthered that theme, similarly enlisting grotesquerie as a means of empowerment.<\/p>\n

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\"A<\/div>\n<\/div>
Wangechi Mutu,\u00a0People in Glass Towers Should Not Imagine Us<\/em>, 2003.<\/span>COURTESY THE ARTIST\/COLLECTION OF JEANNE GREENBERG ROHATYN AND NICOLAS ROHATYN, NEW YORK<\/cite><\/figcaption><\/figure>\n<\/div>\n

There\u2019s the more-than-7-foot-wide\u00a0Non, je ne regrette rien\u00a0<\/em>(2007), in which a busty woman kisses a snake, her head spraying red-brown blood as she does so; even grander ones feature beings with skin composed of blooms of yellow-green that look like pustules.<\/p>\n

Mutu\u2019s beautiful body horror reaches its climax with\u00a0Histology of the Different Classes of Uterine Tumors<\/em>\u00a0(2006), a quiet shocker that features 12 images of Black faces comprising anatomical diagrams and pornography. Implicitly, the work alludes to the long history of medical experimentation performed on Black women, while also subverting it.<\/p>\n

Similar works were the main focus of Mutu\u2019s last major New York survey, at the Brooklyn Museum, a decade ago. It\u2019s rare for an artist to have one big New York museum show during their lifetime, and rarer still to have two. One could argue that the second one is premature, given that Mutu only just turned 50 last year. The New Museum show is amply justified, however, because it affords so much space to her work in other mediums.<\/p>\n

Hats off to Crockett and Norton for placing such emphasis on Mutu\u2019s videos, a part of her practice that doesn\u2019t get enough attention. Some take the form of private performances done only for her camera. There\u2019s\u00a0Cleaning Earth<\/em>\u00a0(2006), in which Mutu, working on her hands and knees, scrubs away at a patch of land behind her Brooklyn brownstone. In the course of 25 minutes, the ground remains just as dirty as before. We observe Mutu\u2019s labor acutely, but it would go unrecognized by anyone looking at the land. What a shame this video is relegated to the museum\u2019s basement.<\/p>\n

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\"A<\/div>\n<\/div>
Wangechi Mutu,\u00a0The End of carrying All<\/em>, 2015.<\/span>COURTESY THE ARTIST AND GLADSTONE GALLERY, VICTORIA MIRO, AND VIELMETTER LOS ANGELES<\/cite><\/figcaption><\/figure>\n<\/div>\n

At least\u00a0The End of carrying All\u00a0<\/em>(2015), which premiered at the 2015 Venice Biennale, is presented front and center, its sounds allowed to rumble throughout the sizable gallery that houses\u00a0Sleeping Serpent<\/em>. The animation follows a woman (Mutu) who ascends a hill. She bends over slightly as she carries a building, a giant wheel, and other objects on her back\u2014the weight of the world. When she finally makes it to the peak, she transmutes into a gelatinous blob that glows red and pink. In the end, this creature slides off the cliffside, leaving behind a slimy trail.<\/p>\n

Moving from one place to another and becoming something else in between: this is the central theme that guides many of Mutu\u2019s gorgeous sculptures from the past decade.<\/p>\n

Some from recent years underscore the spirituality that has long hung in the background of Mutu\u2019s art. There are large bronze sculptures that feature beings inside oversize\u00a0Kikap\u00fa<\/em>\u00a0baskets, smaller versions of which artisans regularly sell in Kenya. One features a serpentine form that would appear threatening were it not so gorgeous; its name is\u00a0Nyoka<\/em>\u00a0(2022), the Swahili word for snake.<\/p>\n

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\"A<\/div>\n<\/div>
Wangechi Mutu,\u00a0Sentinel I<\/em>, 2018.<\/span>COURTESY THE ARTIST AND VICTORIA MIRO, LONDON\/YALE UNIVERSITY ART GALLERY<\/cite><\/figcaption><\/figure>\n<\/div>\n

The Seated I<\/em>\u00a0(2019), a kneeling figure with a plate in its mouth, has traveled downtown from the Metropolitan Museum of Art, which commissioned the piece for a niche within its facade. It loses some of its mystique at the New Museum<\/a>, whose clinical galleries unfortunately seem to tame and diminish it, but even so, the sculpture feels as though it has opened a portal to another world.<\/p>\n

For my money, the timeliest series of work in a New York museum right now is one in this exhibition: a grouping of eight sculptures that depict blown-up versions of viruses that have ravaged the global populace. Covid isn\u2019t represented, but pathogens like Zika, named after the Ugandan forest where it was first isolated, are. Some of these sculptures were made before the pandemic, while others\u2014like one depicting the common cold\u2014came along during Covid<\/a>.<\/p>\n

As diseases continue to smash through the immune systems of many, these sculptures hit a nerve. The reason, however, is not that they evoke so much death and destruction, but rather that they are such attractive objects. Covered in an admixture of reddish Kenyan soil and paper pulp that Mutu has termed \u201cporridge,\u201d they exude an aesthetic charm that\u2019s infectious.<\/p>\n

Mutu\u2019s work has never provided direct statements, and the virus sculptures place among her most challenging efforts to date. They propose these diseases as something transcendent\u2014something that can bind peoples across the globe. After all, what\u2019s disgusting can be beautiful, and what\u2019s alluring can be abject. It\u2019s never one or the other for Mutu.<\/p>\n

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Source: https:\/\/www.artnews.com\/<\/p>\n","protected":false},"excerpt":{"rendered":"

Art historians, like emissaries of pretty much any other discipline, love to box people in, and part of the joy of\u00a0Wangechi Mutu\u2019s art is that it is virtually impossible to categorize\u2014a fact that her otherworldly survey at New York\u2019s\u00a0New Museum\u00a0only seems to underline. What might you call\u00a0Moth Collection\u00a0(2010): a painting, a sculpture, an installation, or […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[5,13,7,4,3],"tags":[],"class_list":{"0":"post-1813","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-artist","7":"category-auction","8":"category-events","9":"category-gallery","10":"category-latest-news"},"yoast_head":"\nWangechi Mutu\u2019s Excellent New Museum Survey Transports Viewers to Other Worlds - Investable Art Auctioneer<\/title>\n<meta name=\"description\" content=\"Art historians, like emissaries of pretty much any other discipline, love to box people in, and part of the joy of\u00a0Wangechi Mutu\u2019s art is that it is virtually impossible to categorize\u2014a fact that her otherworldly survey at New York\u2019s\u00a0New Museum\u00a0only seems to underline.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.atelierauction.com\/globalupdates\/artist\/wangechi-mutus-excellent-new-museum-survey-transports-viewers-to-other-worlds\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Wangechi Mutu\u2019s Excellent New Museum Survey Transports Viewers to Other Worlds - 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