Happy Art

How to say this without sounding sappy? In fashion, the trend is away from black, that thinning and existential hue that has dominated the New York hip look for decades. Color works on people for spring, as the style meisters tell us pushing kelly green, canary yellow, and Barbie pink. And so too in museums and galleries where vivid color now holds sway: in “Color Chart: Reinventing Color, 1950 to Today” at MoMA, featuring work by Ellsworth Kelly, John Chamberlain, Jim Dine, Frank Stella, and others, a show  guaranteed to swing your mood upward. Color even works in absentia, as in the Metropolitan Museum's exhilarating Jasper Johns's Grays. But nowhere does it pick up the inner child with Disney-esque cutesy characters, the spirit of round-faced Hello Kitty, the uplift of effective retail therapy-the possibility of unloading a month's wages on a Louis Vuitton wallet, the subversive thrill of adult themes-pastel figures spouting jism from sexual organs, and the sheer pleasure of ecstatic flower-lined environments as in the Murakami retrospective at the Brooklyn Museum. Much has been made of Murakami's reputation as the Japanese Warhol-and, by the way, for a view of this master's commercial portraiture of prominent Jewish art and political figures like Golda Meir and Franz Kafka, Albert Einstein and Sarah Bernhardt, catch the exhibition, “Warhol's Jews: 10 Portraits Reconsidered” at the Jewish Museum. The extensive Takashi Murakami show with his signature DOB's, Super Novas, variations on Chaos, ko2s, and Jellyfish Eyes, finally explained to me those bewildering and kitsch dancing cherries on brown that distinguished the Vuitton luggage and bags in luxury shops and street vendor fakes in 2002, as in “Life is just a bowl of . . . .”

Regina Weinreich            

Graphic Design: Salpeter Ventura

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