MY MUSEOLOGY

[Digital media consistently use images from Twombly's Untitled/ Bacchus series as illustrative content to accompany stories about the money dispute with the Twombly Foundation. They put me in mind of the violent sea (an unsurprising association if one considers the artist's Hero and Leandro inter alia), turned red like that horrific scene in Lord of the Flies following the fall of Piggy, or photographs I think I remember of unreal-red, carmine seas, dyed with the blood of whale-hunting. Additions to the dispute story have been in the press today, and so I think the world's emphasising value .] Courtauld's Picasso exhibition is tiny, comprised of two rooms or a vestibule and a room in which are hung 19 or so paintings. The arrangement is systematic and logical, although I must confess to having been influenced by the large-print booklet of the painting labels, which I always pick up because I feel awkward standing too long trying to read and consider what they say wh...

We always perceive the infinitude of a moment, but we cannot capture it, which made this exhibition seem appetising. Naturally, to say this contradicts some important thinking on perception -- the name Merleau-Ponty looms forth -- and so what I mean exceeds the literal. Being present for a moment, part of its simultaneity, is partially to absorb it and to experience its energy or presentness: this is to be present to the moment in its infinitude, not to apprehend the impossible totality of it. Infinite is infinite. This exhibition claims to explore this complex between the presentness of a performed moment and its representation. And so, when we look at the David Hockney , the jarring of stillness and action creates the overall energy of the piece. The instant after the dive is artistically (gesturally, figuratively) captured upon the canvas. This painting of an action after the performance of it aligns perfectly with the ethos of the exhibition, and, of course,  A Bigger Splash ...