Sometimes her props refer to an artist's work or personal life. Yet even a beautiful, focused set of artist portraits raises questions about commerce and culture in an overhyped gallery scene. Her shadows give interiors an allusive, cinematic space that Cindy Sherman might envy. Her portraits celebrate established and emerging artists from the last ten years, and she seems always to have found her subjects and their pose before the major magazines did. I mean a photographer's ability to set a scene, but also a nose for talent and celebrity, somewhere between a gossip columnist and a critic. Lina Bertucci has not just an eye, but a nose, too. A related article looks at Barney's earlier videos, a performance that made Hollywood seem modest by comparison. Yet her drawings, like Barney's, struggle against the sublime, too. And when Fioroni turns to happenings, they have a silvery chic as well. This is the institution turning in 2013 directly from Marcel Proust to "The Eucharist in Medieval Life and Art." Maybe something of the Eucharist survives in its drawings by Barney, titled "Subliming Vessel," as if they contained a god's blood. The Morgan Library does not come lightly to contemporary art, much less to Hollywood. Like Matthew Barney and Giosetta Fioroni, she sees art as about shooting stars, not excluding themselves. In New York City Lina Bertucci, Matthew Barney, and Giosetta Fioroniĭoes art still have a little fight left in it, beyond big business and mass entertainment? It may have to struggle first with chic images of contemporary artists, thanks to Lina Bertucci.
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