{"id":123940,"date":"2018-04-06T12:54:00","date_gmt":"2018-04-06T16:54:00","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=123940"},"modified":"2018-04-06T14:42:55","modified_gmt":"2018-04-06T18:42:55","slug":"the-end-is-here","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2018\/04\/06\/the-end-is-here\/","title":{"rendered":"The End Is Here!"},"content":{"rendered":"
<\/div>\n
\"\"<\/a>

Gustave Courbet, L’origine du monde<\/em>, 1866.<\/p><\/div>\n

 <\/p>\n

The great artists see it coming.<\/p>\n

Back in their native Soviet Union, in the 1960s, collaborative artists Alexander Melamid and Vitaly Komar fashioned a body of work that deployed socialist realist tropes in comically magic realist and even downright Warholian terms, anticipating, by a good half century, this year\u2019s film\u201cDeath of Stalin\u201d (and for that matter the persistence of Putin). Following their arrival in America in 1978, they continued in much the same vein, though they broke up as a collaborative almost 15 years ago.<\/p>\n

In February 2016, Melamid, for his part, flush off the success of his great urinal show (an extended revisioning of Duchamp\u2019s epochal Fountain<\/em>, on its 100th<\/sup> anniversary), decided to honor the 150th<\/sup> anniversary of Courbet\u2019s scandalous Origin of the World<\/em> (L\u2019origine du Monde<\/em>) with his own End of the World <\/em>(Le But du Monde<\/em>), a quite shocking portrayal of some guy\u2019s (actually his own) naked rear end, cheeks spread, anus exposed and rampant. Talk about dialectical materialism: if his two ass-cheeks represented thesis and antithesis, where did that put the rest of us, his painting\u2019s viewers? With this work, he anticipated, well, everything that was to follow through the rest of that year and, frankly, up till the present.\u00a0<\/p>\n

 <\/p>\n

\"\"<\/a>

Alexander Melamid holding End of the World <\/em>(Le But du Monde<\/em>).<\/p><\/div>\n

 <\/p>\n

From April fifth to April twenty-eighth, Melamid\u2019s will be the centerpiece, as it were, of an entire show given over to the theme of Assholes, with contributions from several dozen other artists, at the Plato\u2019s Cave (!) exhibition space of EIDEA House in Brooklyn.<\/p>\n

St Benedict might well have approved\u2014or anyway understood. \u00a0Benedict, the founder of the Benedictine Order in the sixth century AD, taught that the foremost virtue of the righteous monk was \u201cdiscretion.\u201d\u00a0 Over the years, interpreters have differed over what exactly the good saint meant or was getting at, but some have cited the origin of the word, which is to say, dis-escretio<\/em>, to infer that he might have been heralding the ability to know the difference between food and shit and to understand that each has its place (shit being good for fertilizer, say, but not for eating). Discretion being, therefore, precisely the virtue our civic culture stands most in need of during this Age of Trump.<\/p>\n

So, what better time than these, our very own End Times, to make our way over to the show?\u00a0 And if it gets to be too much, we can always remember the old saw: What did the one butt-cheek say to the other?\u00a0 If we can just stick together, maybe we can put a stop to all this shit!<\/p>\n

 <\/p>\n

The \u201cAssholes\u201d exhibit will be on display at Plato\u2019s Cave<\/a>\u00a0in Brooklyn from April 5 to April 28, 2018.\u00a0<\/em><\/p>\n

Lawrence Weschler, Director Emeritus of the New York Institute for the Humanities at NYU, is the author, most recently, of <\/em>Uncanny Valley: Adventures in the Narrative<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

  The great artists see it coming. Back in their native Soviet Union, in the 1960s, collaborative artists Alexander Melamid and Vitaly Komar fashioned a body of work that deployed socialist realist tropes in comically magic realist and even downright Warholian terms, anticipating, by a good half century, this year\u2019s film\u201cDeath of Stalin\u201d (and for […]<\/p>\n","protected":false},"author":1456,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[15357,29172,33651,33649,15360,33648,33646,33650,33647],"class_list":["post-123940","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-alexander-melamid","tag-duchamp","tag-eidea","tag-end-of-the-world-le-but-du-monde","tag-fountain","tag-origin-of-the-world-lorigine-du-monde","tag-platos-cave","tag-st-benedict","tag-vitaly-komar"],"acf":[],"yoast_head":"\nThe End Is Here!<\/title>\n<meta name=\"description\" content=\"The artist Alexander Melamid honors the 150th anniversary of Courbet\u2019s scandalous \u2018Origin of the World\u2019 (\u2018L\u2019origine du Monde\u2019) with his own \u2018End of the World\u2019 (\u2018Le But du Monde\u2019), a quite shocking portrayal of some guy\u2019s (actually his own) naked rear end, cheeks spread, anus exposed and rampant.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2018\/04\/06\/the-end-is-here\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The End Is Here! by Lawrence Weschler\" \/>\n<meta property=\"og:description\" content=\"April 6, 2018 \u2013   The great artists see it coming. 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