A Gift Of Controversial Art
A Gift Of Controversial Art
Werner and Elaine Dannheisser, East Hampton residents for many years, are now being celebrated by the Museum of Modern Art in New York for the art collection the couple amassed during the last decade and a half, which is to say, from the beginning of the '80s art boom to the present day. The tribute is MoMA's way of thanking the Dannheissers for donating this formidable collection to the museum.
This is perhaps the only chance to see the Dannheissers' collection, since it will not be preserved intact, and most of it will probably end up in storage. The collection is on view at the museum until Jan. 20, with larger works rotated through the exhibit at intervals, since MoMA's space is limited.
East Hampton residents may remember Elaine Dannheisser from the scandalously unkind, unfair, know-nothing report on the New York art world which aired on "60 Minutes" last year, which virtually ridiculed Ms. Dannheisser for her taste and made much of her singular looks.
"Good Art"
Ms. Dannheisser's taste is certainly adventurous; but, since she was creating a collection of artworks which would be donated to the museum, she was not particularly concerned with finding works that would look good over a sofa, which seemed to comprise in its entirety what "60 Minutes" considered "good art."
In the entire Dannheisser collection there were only a few works of quiet beauty (Sigmar Polke and Brice Marden come to mind) which could have been placed with any success over a sofa. But so far as the Dannheissers were concerned in their collecting, questions of interior decoration were of no concern whatsoever.
Hard To Like
In fact, a number of Dannheisser artworks are among the most difficult-to-appreciate of their time, and many people who visit the brightly lit Dannheisser exhibit will leave it, as I did, with a violent headache.
One specifically unpleasant work, Bruce Nauman's "Learned Helplessness in Rats (Rock and Roll Drummer)" (1988), features a noisy video projection of a rock-and-roll drummer, counterpoised with two videotapes of a rat in a maze, set beside an acrylic section of the maze itself.
The terrible noise from this work echoes through the entire gallery installation, colliding with the harsh laughter emanating from another Nauman installation nearby, thus creating, literally, an assault upon the senses.
The photographer Cindy Sherman's equally disturbing "Untitled #250" (1992), gives a lurid large-scale photograph in which the artist appears to be composed of dismembered body parts, sex toys, and excrement. In a far gallery, in an artwork by Robert Gober, a human leg seems to emanate from a wall.
While the Dannheissers collected work that was greatly hyped at the time and, as a result, is all too familiar to art world regulars (the intensely marketed work of Jeff Koons; the dreary and cliched floor pieces by Carl Andre), the Dannheissers also managed to obtain less easily seen works which have certainly added to MoMA's collection. Robert Storr, curator of the exhibit, was particularly delighted with the addition of "classic Minimalism, neo-Expressionism, neo-Dada, process, and conceptual art and new forms of photography" which came to the museum through the Dannheissers.
For this reviewer, the most exciting works, and the most enjoyable, were also some of the least celebrated: particularly the all-too-easily overlooked conceptual work of Felix Gonzalez-Torres and the double-sided transparency painting of Sigmar Polke. Thanks to the Dannheissers, the MoMA now has the most extensive holdings of these artists to be found in the United States.
Keifer And Beuys
Other highlights of the exhibit include paintings by Anselm Kiefer, a vitrine by Joseph Beuys, the quixotic landscape photography of Thomas Struth, and the uncanny sculptural work of Katharina Fritsch.
Art is, in the end, a delicate endeavor, and artists of today, however venturesome or transgressive, need patrons to sponsor their work and museums to house it. Uptown from MoMA, the Ganz collection is going to auction at Christie's at the same time that the Dannheisser collection is on view at MoMA; the two exhibits show that the kinds of collecting and connoisseurship possible within the art world are many and varied, and so too are their ultimate ends.
Whatever one may think of the individual works in the Dannheisser collection, the collection as a whole seems to define a moment in art-world history: a generation's taste for art which was formed by an avaricious gallery scene and represented by work that is primarily bizarre, shocking, and unappealing.
It was good of the Dannheissers to care enough about art to collect such aggressive and difficult work, and good of them, as well, to find a home for it at the Museum of Modern Art rather than place it on the auction block. What history will make of the collection, or the Dannheissers themselves, time alone will tell, but there is no doubting this couple's generosity, or their commitment to the art of our time.