JULES OLITSKI
623
cntlcs (there are exceptions; some of my best friends are critics), and
what can one say about our art curators and art directors in the muse–
ums? When Philippe de Montebello, the director at the Met, having seen
the "Sensation" show at the Brooklyn Museum, said, "The Emperor
has no clothes," he was savaged, and particularly so by museum direc–
tors. Poor fellow. He believes a museum should be a repository for high
art, for the best. Low is in. It's cool. It swaggers, it's popular, the level is
rap.
"Excellence," "beautiful," "quality" are dirty words. One has
to
watch one's step if not to be labelled a capitalist, imperialist, fascist, or
maybe worst of all, a monogamist! On the other hand, it's a wonderful
situation for creating art. Creative energy can thrive when there is a cul–
ture to go up against. Manet and Cezanne and Degas and Monet and
dozens of others are examples . I can hear a despairing artist, one who
can't get his work seen, or sold, saying, "Yeah, easy to say. What do I
do at three o'clock in the morning? What's the point?" I say, "Were you
asked to be an artist? No one asked." In the face of our present culture,
I say to myself, "Expect nothing. Do your work . Celebrate!"
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Spring Classes Begin January 22
Open House, December
8,
10am-1pm
massachusetts college of art
graduate
&
continuing education
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