Outstanding review of HG his life and impact on the Metropolitan Museum of Art. Not always recognized for the Met's amazing 20th century art collection, HG was the forefather of the modern collection and the force behind the 1970's NY School 1940-1970 art exhibition which took over 35 galleries in the Met (the first and last exhibition to do so). The exhibition was controversial for its exclusion of women and minority artists, and history making for the artists who were included. HG was a mover and a shaker in the 1960's art world. This guy knew everyone--and who ever was still alive to talk to, they interviewed for this film. The artist interviews were particularly terrific--Frank Stella, David Hockney and Chamberlain stood out. If you are at all interested in Modern/Pop/Contemporary art, you need to see this film. It is currently only being shown in film festivals, but keep an eye out for it to be released. Great for art mavens and novices alike.
3 Reviews
Awesome and Important Document of Art & Commerce History - WoWewoahwaow!!!!!
czarnobog25 March 2007
This little gem may represent the last gasp of healthy symbiotic intersection between pure art and the world of commerce, a centuries old tradition that died with the rise of corporate supremacy in the latter half of the 20th century.
Henry Geldzahler is lovingly memorialized by world class artists Frank Stella, Jasper Johns, David Hockney and others. Born into a wealthy family of Belgian diamond merchants, Geldzahler transcended his illustrious materialistic roots to inject himself as a potent and active force in the world of modern art. A maverick assistant curator at New York's Metropolitan Museum, Geldzahler was prescient enough to recognize the future of art and instrumental in establishing America's modern artists as a force to be reckoned with.
Geldzahler stands primarily as an example of someone who was born into incredible privilege, yet used his social advantage as but a starting point for a career that influenced American culture at the highest intellectual level.
Testimony to his importance lies in the multitude of flattering portraits of Geldzahler completed by the greatest American artists of his era, many of whom appear in this documentary to lend oral tribute to him as well.
While Geldzahler's story makes this a must see for anyone interested in the arts (particularly Modern American art) or in the depiction of a brilliantly realized upper class life, the most precious clips are those showing Geldzahler's friends at their best: Andy Warhol's brief but trenchant observations are well worth sitting through this on their own, and Frank Stella's comments brilliantly illuminate the state of the arts in 50s and 60s America, and Geldzahler's place in that scene.
Anyone interested in the arts will appreciate Geldzahler's incredible ability to recognize art at its inception, years before the slugs of Middle American society were able to grasp its significance, and only with the aid of forward-thinking guides like Geldzahler to explain it.
Geldzahler was that rarest of species: a person who could have easily coasted through life on the coat-tails of his ancestors, fat and happy on the dregs of their accomplishments, yet rose beyond their limitations to affect the course of art history by recognizing and supporting worthy and brilliant artists who may otherwise have been overlooked, with no social or political agenda to affect his artistic judgments.
Geldzahler represents the last of an extinct breed. Uncorrupted and uncompromised, he intersected with the creative community in a way that is impossible even for the most powerful of today's media moguls, who ultimately must answer to their brainless corporate uberlords.
Art lovers should watch this, and appreciate that there was a time when art for art's sake had its champions, and wealthy educated patrons were as pure of heart as the artists they championed.
Artists will watch it, and wish they had been born when Geldzahler still walked the earth.
Henry Geldzahler is lovingly memorialized by world class artists Frank Stella, Jasper Johns, David Hockney and others. Born into a wealthy family of Belgian diamond merchants, Geldzahler transcended his illustrious materialistic roots to inject himself as a potent and active force in the world of modern art. A maverick assistant curator at New York's Metropolitan Museum, Geldzahler was prescient enough to recognize the future of art and instrumental in establishing America's modern artists as a force to be reckoned with.
Geldzahler stands primarily as an example of someone who was born into incredible privilege, yet used his social advantage as but a starting point for a career that influenced American culture at the highest intellectual level.
Testimony to his importance lies in the multitude of flattering portraits of Geldzahler completed by the greatest American artists of his era, many of whom appear in this documentary to lend oral tribute to him as well.
While Geldzahler's story makes this a must see for anyone interested in the arts (particularly Modern American art) or in the depiction of a brilliantly realized upper class life, the most precious clips are those showing Geldzahler's friends at their best: Andy Warhol's brief but trenchant observations are well worth sitting through this on their own, and Frank Stella's comments brilliantly illuminate the state of the arts in 50s and 60s America, and Geldzahler's place in that scene.
Anyone interested in the arts will appreciate Geldzahler's incredible ability to recognize art at its inception, years before the slugs of Middle American society were able to grasp its significance, and only with the aid of forward-thinking guides like Geldzahler to explain it.
Geldzahler was that rarest of species: a person who could have easily coasted through life on the coat-tails of his ancestors, fat and happy on the dregs of their accomplishments, yet rose beyond their limitations to affect the course of art history by recognizing and supporting worthy and brilliant artists who may otherwise have been overlooked, with no social or political agenda to affect his artistic judgments.
Geldzahler represents the last of an extinct breed. Uncorrupted and uncompromised, he intersected with the creative community in a way that is impossible even for the most powerful of today's media moguls, who ultimately must answer to their brainless corporate uberlords.
Art lovers should watch this, and appreciate that there was a time when art for art's sake had its champions, and wealthy educated patrons were as pure of heart as the artists they championed.
Artists will watch it, and wish they had been born when Geldzahler still walked the earth.
So, about that title...
plushsnail30 September 2009
The name of this film is "Who Gets to Call it Art?". A more appropriate title might have been "Who Gets to Call it Art? Henry Geldzahler Does!" or maybe "Henry Geldzahler is Totes Awesome". This movie is relentlessly effusive and congratulatory about Geldzahler's life and work - it feels like an extended version of something you'd play at a banquet thrown in someone's honor, right before giving them a Lifetime Achievement Award.
That said, there's a lot of good stuff in this movie: there's great footage of influential New York artists in their youths along with more-recent interviews, and it provides a decent look at the fabled mid-20th-century New York art scene. It's worth 80 minutes of viewing-time for any art-lover, but it's not a satisfying piece of work.
That said, there's a lot of good stuff in this movie: there's great footage of influential New York artists in their youths along with more-recent interviews, and it provides a decent look at the fabled mid-20th-century New York art scene. It's worth 80 minutes of viewing-time for any art-lover, but it's not a satisfying piece of work.
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