Review: America picked artist Martin Puryear’s work for the Venice Biennale — and he’s everything America is not
One of the Martin Puryear installations in his “Liberty” exhibit in the U.S. Pavilion at the Venice Biennale. By Philip Kennicott Philip Kennicott Art and architecture critic Email Bio Follow Art and architecture critic May 16 at 1:44 PM VENICE — Everywhere else in the world, our country projects its blustery self, muscling aside old friends, embracing authoritarians and autocrats, braying “America first” and going it alone as the old transatlantic order frays into tatters.
Puryear’s “New Voortrekker” cart sculpture. On one wall, a giant pair of Irish elk antlers, fashioned from cast aluminum, recalls an extinct species of mega fauna yet also looks like a hunting trophy one might find in an old-school men’s club. It is attached to an upside-down cross, like the one on which Saint Peter was crucified.
That’s one reading, and it’s likely that Puryear would have none of it. His work feels precise, but not specific. It never offers the vague sense of being potentially meaningful that is common to lesser art, but rather it is resolutely meaningful without specifying which meaning was intended.
There was a gala dinner for Puryear during the opening of the Biennale, and it was full of billionaires and lesser mortals. When Puryear spoke to the crowd, one could sense an underlying shyness, or reticence, mixed with perfect clarity about what he wanted to say. “I had huge doubts about the enormous expense and scale of the project,” he said, wondering aloud about whether the investment in his vision was worth the cost. “It is very moving to feel like it was worthwhile,” he concluded.
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