A Reaction to Tony Matelli’s “New Gravity”

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After my post about Tony Matelli’s Sleepwalker at Wellesley College, I have received an overwhelming number of responses. Some people strongly supported my stance, as I called Tony Matelli’s work irrelevent to Wellesley College, while others suggested that I rethink my opinion, suggesting a bit of closemindedness.

“Me, close-minded?” I thought, perplexed. “Never!” But the more I thought about it, the more I realized I was not looking at Matelli’s work with an objective view. Also, why should the ICA get exhibitions like “New Gravity” and the Davis Museum get “safe,” prim, and proper exhibitions? Wellesley students and other visitors of the Davis Museum are just as capable of digesting the work of Tony Matelli as urbanites.

One of my favorite things about the Davis Museum is that its exhibitions take risks. The recent Glass Heart (Bells for Sylvia Plath) exhibition featured a light and sound installation; the Louise Nevelson exhibition was shrouded in darkness. It was cool; it was edgy. They made the Davis Museum special. I have been attending Davis Museum exhibitions for years, and I grew reasonably familiar with the types of exhibitions that went up.

Now, the Tony Matelli exhibition was a risk that threw me off. And my instant reaction was that it simply did not belong. Perhaps it has been so ingrained in my mind what is an “appropriate” exhibition. All of these exhibitions are risks, and “New Gravity” is another one. Why should I immediately shut it down?  Also, who am I to judge what is “relevant” to the Wellesley community?

On Thursday, I attended the Davis Museum’s official opening celebration of its spring exhibitions, which of course included Tony Matelli’s “New Gravity.” It also included a short lecture by Mr. Matelli, as he went through several of his works throughout his career, with some explanation. This provided insight into the ideas behind the works. Matelli described himself as a “romantic type of artist.” He called some of his works an “acceptable social antagonism,” with such titles as Fuck the Rich and (my personal favorite) Fuck the Rich Deluxe. He has an interest in exploring the concept of adolescence, “male anxiety,” and “masculinity in crisis.” Perhaps Sleepwalker is a vision of male vulnerability, baring it all to the world, unknowing, and frightened. Extended, these concepts are relatable to every visitor to the museum; people worry about being strong and “grown up;” no one wants to show that they are vulnerable.

Matelli also explained the process with which he expected people to view his work: people would first “see the thing for what the thing is.” He was exactly right; unknowing Wellesley students thought that the Sleepwalker was a real man lost in the snow at first. Then, as Matelli said, “you understand it as sculpture.” This is also a relatable idea; art has the unique power to play tricks on the mind. Sometimes, as Wellesley students, we like to think we know and understand everything; but occasionally, this is upended. Sometimes, there are just things we cannot possibly understand, and Matelli’s work demonstrates that.

At the exhibition opening, I had a moment to chat with Lisa Fischman, the museum’s director and exhibition curator, as well as with Tony Matelli. Of the exhibition, I asked, “Why here, and why now?” Mr. Matelli responded with the ever-so-diplomatic answer, “I was invited.” Ms. Fischman explained that Matelli’s work deserved to be seen in the museum setting, with the context of the rest of art history, as the Davis collection displays works ranging from ancient to contemporary art. This is absolutely reasonable, and as I had a chance to walk through the show, I myself became mystified by the illusion of Matelli’s work.

Before I saw the show, I was concerned that it would include some works like this:

TERRIFYING.

Or this…

Good luck sleeping tonight.

But instead, I saw works like this:

Magical!

And this!

How is this even happening?

I suppose my main concern was that the work would have such a high shock value, that viewers would not see through to the underlying message that Matelli was trying to send, about the vulnerability of human nature.

Instead, the works in the exhibition forced me to question reality. I was stunned by their incredible balance. I looked at them with wonder; I wanted to touch them; I wanted to trace my name in the dust on the dirty mirrors in the exhibition. Matelli’s work dances on the line between reality and imagination.

What is my final conclusion? The Davis Museum did something vastly unexpected. And that is not such a bad thing. In the history of art, the most important art movements began with a maelstrom of criticism. Why shouldn’t Wellesley be the host of such work? Wellesley students should be exposed to all types of art, even if it is shocking. Not all art is neat and pretty, and the the most significant, groundbreaking works in the history of art caused a stir that rattled the conception of art.

Tony Matelli’s work threw me off balance, but quite frankly, I am enjoying the ride.

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Tony Matelli’s “Sleepwalker” at Wellesley College

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I am absolutely amazed at the amount of press a sculpture on Wellesley College’s campus has received. Tony Matelli, a sculptor, has his first solo US exhibition opening at the Davis Museum tomorrow; I will give my reactions to that exhibition after I see it. As a promotional tactic, one of Tony Matelli’s hyper-realistic sculptures has been posed on Wellesley’s campus, “Sleepwalker.” 

There’s our guy, in all his glory. Image courtesy of boston.com

Since I used to work for the Davis Museum, last semester I became aware that this sculpture was going to be put up. As I predicted, there is a considerable amount of backlash associated with this sculpture, but it is still not exactly what I expected.

Many people are saying that the sculpture needs to be taken down because the presence of a mostly naked man (albeit a lifeless one) could trigger horrific memories in sexual assault victims. Although he is meant to look like he is asleep, a passersby would not know that at first. His outstretched arms appear as if they want to grab you. Admittedly, it does seem like it could be quite triggering.

In my personal opinion, I think that the statue is creepy, antagonistic, and all around very, very impressive. Tony Matelli knows how to make things look very real, and his work can touch a nerve that other work cannot. While I am personally not a fan of antagonistic art, Matelli is certainly a very talented artist and no one can deny that.

However, I do not think that his work is relevant to this campus. Wellesley College is a small, liberal arts women’s college in a wealthy suburban town in Massachusetts. The Davis Museum is an academic museum. Its audience consists of female students, old ladies from the town of Wellesley, and school groups. Is this the appropriate audience for a Tony Matelli exhibition? I don’t think so. Matelli’s work is more suited to an urban setting, perhaps at the Institute of Contemporary Art in Boston, where provocative work of this nature is more well-received and can be pondered by a wider audience. 

My thoughts will be more fully formed after I see this exhibition tomorrow. Perhaps my mind will be changed. But as of now, the Sleepwalker, while provocative, is perhaps provoking the incorrect reaction.

Here are a few links to some of my favorite articles about the statue: 

Buzzfeed article, “Incredibly Life-Like Statue of A Man In Just His Underwear Is Scaring Students at Wellesley College”

Perez Hilton, “Lifelike Statue of Man in Tighty-Whitey Undies Gets Erected At All-Girls College!”

A Circus…in a Museum?

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Recently, while I was in New York City, I visited the Whitney Museum of American Art. I truly enjoyed the experience; unlike encyclopedic museums, the Whitney was small enough to enjoy in one, non-exhausting day. My sister and I journeyed from floor to floor, taking in the sights of the work of American greats. Yet, there was one work that really mesmerized us: Alexander Calder’s “Cirque du Calder.”

I was only marginally aware of Calder’s work before I saw “Cirque du Calder.” I knew that he made impressive structural mobiles that could be manipulated by a slight gust of air. But when I saw more examples of his work in the Whitney gallery, I knew that I had underestimated the scope of Calder’s work. Upon even further research, I found that Calder created works on paper, and sculptural objects of varying shapes and sizes.

“Cirque du Calder” specifically was fascinating. The gallery space featured a video screen which showed the video of Calder manipulating his circus (a clip is above) as well as a case which held all of the pieces which Calder used in his circus. The whimsy and light-heartedness of this work appealed to my child-like tendencies. I could not tear my eyes away from the screen as I watched wire horses galloping around a hand-built track, or a miniature ringmaster announcing the start of the circus.

Although I appreciate sober works of art, it is certainly a breath of fresh air to look at an art work in child-like wonder and grin.