Exhibition: Art of the Samurai

Art of the Samurai:  Japanese Art and Armor, 1156-1868, opening at the Metropolitan Museum of Art on Wednesday has been described as the most significant exhibition of Samurai objects in the world. It includes Samurai swords, armor, elaborate saddles, textiles and a range of other related items drawn from both museum and private collections across Japan.  The opening of this exhibition represents the culmination of 10 years of work by the exhibition’s primary curator.

Art of the Samurai can be viewed in two ways.  First, in the context of a historic cultural tradition of Japan, to reveal the meaning of Samurai, and to appreciate the aesthetic qualities of the objects.  On the other hand, as a whole, the exhibition might also be viewed in terms of the influence that the stories and objects of the Samurai have had upon American culture, to consider whether these ideas are consistent with the original perspective, and to consider what this adoption may signify to Americans.

That said, for many visitors, the focus will likely be upon the armor, and especially, the variety of headpieces.  Upon viewing some of the elaborate kabuto, or helmets, in the exhibition, it is not difficult to see how these objects have influenced American media and pop culture, from the well-known inspiration for the Darth Vader character, to the recent proliferation of Samurai theme cartoon programs.  (Not to mention the media imported from Japan itself). The most elaborate of the kabuto are fascinating for their meticulous crafting, and aesthetic expression, as well as their underlying concept.  In form they range from the huge crescent shaped horns of a black lacquer “vader” style helmet, to those adorned with enormous metal insects.  Considering a clamshell-eared helmet one viewer surmised that it was “the original batman.”  Maybe.  In any case, for many American viewers, the kabuto are likely to be the stars of the show.

Not to be overlooked, however, are the blades.  Most are displayed as a pure aesthetic form, floating on plexi-glass supports and unattached to any mountings.  To the untutored, as a group they seem at first to be somewhat indistinguishable, austere objects.  However, their distinct characteristics and the fine aspects of the sword maker’s art can be appreciated with a little effort. By following the storyline of the exhibition layout, an evolution of form is revealed–details such as the variations of a curve and subtle wave patterns on the edge of a blade become points of interest.  Each blade reveals a distinct personality.

Aside from the kabuto and blades, the central galleries contain several full suits of Samurai armor.  The detailed construction of the pieces are quite interesting, and I encourage visitors to look at the back as well as the front.  There on the reverse side one can examine the elaborate knots and fastenings that held the armor onto the body, as well as the delicate metal hardware elements.

Most of the objects in the exhibition are denoted as significant cultural properties or national treasures and have never been seen together as a group, even in Japan.  As such, the opportunity to see this art of the Samurai should not be missed.  Also, note that some of the more fragile pieces will be rotated out and replaced with alternate objects in early December.

Art of the Samurai:  Japanese Art and Armor, 1156-1868

October 21 – January 10, 2010

Metropolitan Museum of Art

www.metmuseum.org

Fairey Admits Falsehood re Source of “Hope” Image; Lawyers Quit

The Associate Press reported this morning that lawyers for artist Shepard Fairey, infamous creator of the Obama Hope poster, are withdrawing from representation over admissions that the artist misled them.

Fairey reportedly admitted that he intentionally misrepresented the actual source photograph for the iconic poster at the heart of AP’s copyright infringement suit against him.  The admission affirmed AP’s position that the source was a close up shot of then candidate Obama, rather than a wider shot that included actor George Clooney as Fairey had stated in his complaint against AP.  On Friday papers were filed in federal court, amending the complaint with Fairey’s new position.  At least some of the lawyers involved reportedly intend to seek court permission to withdraw in the near future.  According to the New York Rules of Professional Conduct, lawyers may with draw from representation under certain circumstances that appear to be similar to those described.  (Rule 1.16)

Fairey had presented some interesting arguments, including that of the limited access to images of famous persons as a reason to necessitate a fair use of such press photos. However, the future of Fairey’s case is now unclear.  While this information doesn’t necessarily kill his argument, the new information seems to implicate the third fair-use statutory factor, relating to the amount and substantiality of the image taken.  17 U.S.C. § 107 (3).  Presenting misleading information in a court document is serious–and certainly Fairey’s credibility has been damaged with the admission.

Related info:

Fairey’s complaint against AP

About fair-use, on ArtUntitled.com

§ 107 statutory fair-use factors, on ArtUntitled.com

UPDATE 10/20/09:  AP files a motion to amend its counterclaim against Fairey.

Art War Reinitiated

NEA Communications Director Yosi Sergant is the most recent casualty in the reinstated right-wing attack on the arts, according to multiple reports.

Sergant has been accused of promoting a political (pro-Obama, pro-democrat) agenda in NEA project initiatives.  The apparent impetus for the right’s criticism of Sergant was a conference call in which he reportedly suggested the creation of artwork promoting certain policies associated with the present administration, such as healthcare.  In less extreme times it would hardly seem like grounds for dismissal.  Nevertheless, Sergant was relieved of his communications duties and subsequently resigned on September 24th.

This time around, rather than accusing the Endowment of promoting pornography and immorality, right-wing media demagogues have attacked it on political speech grounds.  The main idea, apparently, is that the NEA should not promote the policies of the government of which it is a part, nor discuss them.  Considering the manner in which the previous presidential administration sought to extend its agenda, it’s a hypocritical position at best.

The autonomy of the NEA, and its job of distributing funding to art organizations and artists is vital to supporting the social/cultural dialogue that is the most important component of the arts.  A politically motivated assault on the NEA is no less than an attack on our ability to express that critical speech.

While in some ways, past attacks on the NEA and the arts in general may be interpreted as having been based upon a lack of education in the arts, this situation is not that.  Rather, the aggressors do understand art to the extent that they perceive a power there–critical speech that they seek to subvert. They also want to make a strike on the Obama administration, in any area that they perceive a weakness, and the NEA has proven to be a soft target in the past.  This is clear, but if we want to have an inclusive and progressive society now is the time to take a stand against bullying attacks on the arts.

ABC News:  Yosi Sergant Resigns

Washington Post:  Yosi Sergant Resigns from NEA

Huffington Post: Yosi Sergant Resigns

Chairman Landesman’s statement on the conference call

The Chronicle continues: More Museums Cut Hours, Exhibitions & Staff

At the top of the list, reflecting a drop in the value of its endowment, the Metropolitan Museum of Art in New York is cutting down on the number of major loan exhibitions.  Such borrowed exhibitions tend to be quite expensive and the museum apparently intends to reduce the number of the larger of these shows by up to 25%.  Other avenues of raising funds are also being considered.  The Met has long had a recommended (voluntary) general admission fee, but Director Thomas Campbell has reportedly not ruled out entry fees for special exhibitions. Staffing cuts occurred earlier in the year.

The Cleveland Museum of Art cut its budget, but apparently not the number of its employees.  The museum has seen a 30% drop in funding and intends to cut costs, including salaries, to make up the gap.  The museum is continuing with a $350m renovation and expansion.

LSU Museum of Art has cut at least one exhibition from its schedule after learning that its budget has been slashed by 20%.  The museum is also ending its free admission program and will now charge $6 for students and $8 for others.

Detroit Institute of Art is facing the cut of $6 million in funding from the state of Michigan.  The cuts will reportedly come primarily in the form of reductions in staff and operating costs.

The Miami Art Museum has cut staff after a 10% reduction in operating costs but is continuing with a $220 million expansion project.

This listing is just a fraction of the art institutions that are affected by the broader economic conditions and other related organizations, notably local historical and science museums, have been hard hit as well.  Smaller institutions tend to rely on state funding and considering the current situation, are a prime target for the legislative budget axe – with the ultimate result being a limitation on public access to art.

Image:  The Arthur Sackler Gallery at the Metropolitan Museum of Art, Chinese Art (permanent exhibition).