We seem to be grappling with a real crisis when it comes to public “art,” and, well, sculptures are often at the forefront of this issue. Before we plunge into a deeper discussion about the aesthetics—or lack thereof—of modern art, let’s take a moment to remind ourselves of what true beauty looks like.
I remember back when I was eight. My grandmother handed me a little hardcover book on Greek mythology. I can’t quite recall the title, but it was likely published in the 1940s and served as a sort of textbook or an introductory guide for college classes.
Some say that there are children whose faces only their mothers could love. Well, even the father in a certain film viewed it as if it were a gargoyle from some hellish kiosk.
The book had that distinctive smell—think of finely bound tome fragrances lingering in a library’s archives. It was about 7 inches by 4 inches in size but contained a staggering 900 pages, with delicate onion-skin pages reminiscent of a Bible.
Fixed in Stone
I always found that book opening to the same page, the one with a black-and-white photo of Bernini’s Bust of Medusa. It captivated me; for some reason, I was particularly drawn to Medusa, perhaps because, well, my own mother could be quite a gorgon herself.
But it wasn’t just that. The details, the sheer life that Bernini infused into the stone—I mean, how could marble so closely resemble a human face, expressing emotions through carved eyes?
Have you ever laid eyes on a statue of a veiled figure? They create an incredible illusion of, say, the Virgin Mary behind a delicate, translucent veil. This particular piece, the Veiled Madonna, carved in the 19th century, is a testament to a time when skilled sculptors considered themselves true “artists.”
So, what’s up with some of today’s sculptures? Take this one, for example.
Bullsil
I mean, this isn’t Lucille Ball. It looks more like a bronze casting of Brushir Lal, Lucy’s evil transgender cousin. Seriously, who would believe that anyone would offer a vitamin—aavegamine—when it was clearly liquid arsenic? It’s like a piece of candy that’s actually a trap.
The late sculptor responsible for this piece, David Pullin, had it placed in the comedy legend’s hometown in 2015 as a tribute, but the overwhelming negative feedback made him step back. He expressed frustration in local media about being criticized for what he considered to be “not one of my best works.”
You can’t help but wonder: What led the city government of Celoron, New York, to consider this acceptable? Is it a case of the sunk cost fallacy, or maybe just an attempt to save face after spending money on something that left local children—and many others—feeling traumatized?
Hug Me
Whatever was driving this decision likely mirrored the initial motivations behind an even more recent piece in Boston. We have this atrocity downtown. An enormous bronze statue dubbed “Embrace” is claimed to depict Martin Luther King Jr. and his wife, Coretta Scott King, in a loving embrace.
If you’re curious, just give it a look. And if this resonates, perhaps let the Mayor of Boston know. Michelle Wu explained the sculpture as one that shifts away from the typical heroic format associated with monuments to Dr. King, instead focusing on collective action, women leaders’ roles, and the creation of new bonds born from empathy.
But, you might find yourself agreeing with a local Reddit user who quipped, “It could’ve been something amazing, but we ended up with this rather, um, inappropriate bronze artifact.”
It was created by a highly regarded black artist, Hank Willis Thomas, who emerged victorious over 125 other submissions. He claims he intended to avoid oversimplifying the legacy of MLK.
Perhaps, though, they thought that pushing the boundaries so far might lead to something the judges would mistake for genius. Who knows? It seems that some affluent supporters love to distinguish themselves by endorsing art that’s provocative and—some might say—ugly, all while claiming to champion “diversity.”
Interestingly, Coretta Scott King’s cousin was less than thrilled with the “Embrace,” referring to it as “an act of cruelty.”
Monumental Rights
One approach to gain art credibility is to dismember your subjects, leaving behind only their eerie, detached limbs. Another is to challenge the conventional wisdom that only those who have accomplished significant feats deserve to be honored with statues.
There’s the perspective of British sculptor Thomas J. Price, who specializes in oversized statues that bear a striking aesthetic. Recently, he installed a 12-foot bronze piece in Times Square called “Grounded in the Stars.”
What Price is aiming for is to challenge traditional concepts of representation and to give a voice to many black women who feel insulted by typical statues.
Yet another recent work by Price is a towering 13-foot statue of a young black woman who appears to be texting on her cell phone. It’s as if she’s decided to convert a crowded bus into her own living room, fully intending to have loud conversations that disrupt the peace. (To be fair, credit where it’s due; it does capture a certain aspect of how many women today live.)
However, does placing this statue alongside classical and Renaissance works in Florence’s Piazza della Signoria truly represent “an important dialogue with the history of Western art”? Or is it merely an over-the-top response to “whiteness” and its restrictive standards of beauty?
Just the Worst
And as if that isn’t enough, we now have a rather grotesque tribute to the legendary Tina Turner, who passed away in 2023. You really need to see this one to believe it.
You can tell this piece was crafted by a black artist because if a white person had produced something this monstrous, accusations of a hate crime would surely arise. Fred Ajanoga (often referred to as “Ajano”) is an Atlanta-based “master sculptor” known for his acclaimed works inspired by the traditional “Benin Bronze” techniques.
While the ancient wax casting method does require skill, it seems this artist may have skimped on the references for what Lady Turner should look like.
Honestly, you can’t help but see he’s given the iconic singer a look perhaps indicative of Down syndrome, all while mirroring something akin to a McDonaldland character.
This uncanny creation now resides in Turner’s small Tennessee hometown, a place where her fans “Nutbush City Limit” together, trying to make sure it’s a tight-knit and well-kept community. Motorcycles and alcohol? Not allowed there.
Unfortunately, it seems like even in a tight-knit place like Nutbush, perceptions are starting to shift.
