Pop Touched Me, Too

Bill discusses why Young's work was so successful (and tells us the correct way to pronounce Kymia's name).

Pop art was the original mash-up, and while Andy Warhol is remembered as the king of pop, there were many others involved in the movement from Ed Ruscha to Roy Lichtenstein. Our guest judge on this challenge was a major coup for us, because Rob Pruitt embodies what pop art means today by hosting an annual art awards a la the Oscars and making slick glittery paintings a mile deep. I called Kymia's installation an example of product displacement. It shined a light -- quite literally -- on issues of environmentalism and consumerism without reading like an AdBusters cover. The fluorescent lights recalled Jeff Koons' pre-new work, and I agree with The Sucklord that her decision to go topless here surprised me. On a side note, I confess that for the first couple of episodes I had trouble pronouncing Kymia's name until someone explained that phonetically it sounds like leukemia without the "leu." Terrible comparison, but hey, it worked.

Young's Prop 8 billboard reminds us that simplicity is the ultimate sophistication, and Lola dismissing it as political art you see everywhere in California was a disappointment. Street art at its best has the ability to make real change. Does anyone doubt that Shepard Fairey's Obama poster helped him get elected president? The other aspect of Young's piece, which didn't fully read on TV, was how much of a hub it became in the gallery with people writing messages on the back. The participatory quality made everyone a stakeholder in Young's artwork. Rob Pruitt wrote "Will You Marry Me?" in Sharpie and I accepted. (Please don't tell his boyfriend Jonathan Horowitz, another great conceptual artist.)

My problem with Dusty's garbage can was that his message came off like someone wagging a finger in your face and not the call to arms we need in a country full of couch potatoes.
Jazz-Minh's commentary on celebrity culture was half-baked. I think it's fair to say that America invented what we call fame today. You need to push the conversation beyond Britney Spears' frozen smile. Inserting herself into the picture was risky, because it revealed the fine line between introspection and narcissism. (I'm talking perception here, not necessarily Jazz-Minh's intent.) I had a similar issue with Leon's floor piece in that the communication was fractured and reductive. I applaud his inclusion of the Facebook and Twitter logos as corporate icons of the 21st century, but to crack their facade didn't feel like enough of a transformation to save this piece. Plus the American flag is such a loaded symbol that unless you can really put your stamp on it, maybe this image too easily becomes a cliche.
Michelle faced a near identical challenge depicting the Coca Cola can, her reasoning being that Coke Zero is different than the original painted by Warhol. But to me it's just Diet Coke men can feel manly about drinking. Her decision to paint the soda can on a phone screen was the most interesting to me. In the world we live in surrounded by so many invisible filters, perhaps the mediation is the message.

You May Also Like...

Recommended by Zergnet


Simon was blown away by the brilliance of Kymia's drawings.

While the finale was the episode that I enjoyed watching most, it was also by far the one that was most fun shooting.

First of all it was such a pleasure to visit Young, Kymia, and Sara in their respective homes and to get to meet their loved ones. Driving around Chicago on a sunny day in a convertible Fiat 500 with very loud music was not too bad either.

The finale is the only episode where the contestants have plenty of time to prepare their exhibitions and have no thematic constraints of any kind. They can do their work in their own studios, are not being filmed 24/7, and are not sleep deprived.

The lack of all that pressure is not necessarily an advantage. So often in life we achieve so much more with stringent deadlines than when we think we have all the time in the world on our side. 

I wanted the finalists to do their best work ever for the finale. My visits to their homes and studios took place after already about two thirds of the time at their disposal had elapsed. I had high expectations since Young, Kymia, and Sara had all already demonstrated their talent during the competition so far. What I initially saw in each of their studios did not measure up with these expectations. This explains why I was possibly the bluntest with the artists that I had been during the whole competition.

Young was always the one who knew right from the start most precisely what he wanted to do and was very good articulating it. While, like everything he does, what he showed me in Chicago was fully thought through and extremely well executed, what he was planning for the finale was not exactly conveying much emotion. It was in total contrast to the shrine he had erected in his studio as homage to his late father. That piece was extremely moving without being sentimental and was very powerful. Seeing it made me encourage Young to fully explore the vein of that particular work. When I saw his exhibition fully installed, I was highly impressed by what he pulled together. He did an even more moving shrine for his father that was my favorite piece in the sophisticated installation he created for the finale. It was evident that it was speaking to the viewers in the gallery, and it was touching to see how China and KAWS reacted to it. Young is not only a gifted and intelligent artist, but he also demonstrated how elegant and gracious he is by the way he reacted when Kymia was declared the winner. 

Sara had built real momentum towards the end of the competition. For the finale she grew beyond herself and put together a remarkable show that, contrary to was observed during the critique, made to me a very coherent impression. At the time of my visit her intentions were still all over the place, and there was little coherence between the very large caricature works on paper and the sculptures. She replaced the works on paper that I had seen in her studio with new, very good ones. On top of that she did some new beautiful and poetic works such as the open birdcage with a flock of origami birds flying out of it, the more disturbing but equally strong lingerie done in human hair, and the imprints of the body glued to the wall. She could have chosen the safe track of doing a show mostly in her signature style that she had used in her self-portrait and in Episode 1. Instead she explored new ways of working which paid off in a very strong show for the finale. Like Young, she was very elegant in her reactions to Kymia's victory.

Kymia at various moments during the earlier parts of this competition had shown us flashes of her immense talent. I liked the way she transformed the sculpture she had chosen in Episode 1 for the so called kitsch art challenge. The work she did for the Pop challenge got her a second place right behind Young. The coffin she did with hands and feet sticking out for the newspaper challenge was good, but it was the drawing that brought her victory in the children's challenge that enchanted me. It is an outstanding drawing by any standard. Ever since seeing that drawing, I was secretly hoping Kymia would do more works of equal brilliance. I was trembling for her, since as opposed to Lola or Sara her momentum seemed to slow down a bit. There was the “key to the universe” in the car challenge that had malfunctioned and the “exchange of signatures” that while it sufficiently impressed the judges clearly had very little commercial appeal in the street vendors challenge. I did not particularly like the portrait she did of the couple of antique dealers in Cold Spring. Luckily for her I seem to be alone in that case, since that work allowed her to snatch victory in the penultimate challenge. 

When I visited Kymia's studio I was struck by the beauty of one large drawing. I was thrilled, because finally I was seeing again the type of quality that made me admire so much the drawing from the children's challenge. Turning round in the studio I saw two smallish sculptures that not only had none of the quality of the large drawing but were so unimpressive (I used stronger language on camera) that it was hard to imagine that it was the same person who had done them. Seeing Kymia's reaction to my blunt comments, I was worried that instead of motivating her by shaking her up, I had actually totally discouraged her. I advised her to try and do several large scale works in the manner of the works that I admired. She questioned whether she still had enough time to do them before the final exhibition. Not only was I very much relieved when I walked into her exhibition at the gallery; I was blown away by the quality of several of the large drawings she had done and in particular with the one of the boat with the shadow of the legs on its sail. That work to me is the very best work produced by any contestant during Season 2 of Work of Art. Kymia pulls off the feat of walking that very thin line of creating an exceptional work when it so easily could have looked corny and overly sentimental. I do hope that many viewers of the show will make the effort of going to the Brooklyn Museum of Art to see Kymia's exhibition. It is difficult to fully appreciate on television her gorgeous technique. While her drawings look impressive from afar, it is a pleasure to examine their texture and strokes close up. Kymia's technique is unique and reminiscent of her Iranian cultural heritage.

Death was the predominant theme of the three strong shows the finalists put together for the finale. Kymia, Young, and Sara each dealt with it in totally different ways. Each can be proud of what they did and how they ended the competition. 

It was great having KAWS as a guest judge for the finale. I was an admirer of his work early on and am thrilled to see how he goes from success to success. Artists themselves always bring a unique perspective to the judging of the works, and the guest judges form the ideal complement to the outstanding roster of permanent judges China Chow, Jerry Saltz, and Bill Powers.

The most gratifying thing for me personally in participating in Work of Art this season was working with the artists, host, judges, guest judges, executive producers, producers, technicians, cameramen, sound engineers, make-up artists, etc. It was fun, inspiring, and invigorating.


You May Also Like...

Recommended by Zergnet