Blog post by Wayne Duffy
I recently had the opportunity to view Darren Waterston’s exhibition Uncertain Beauty at MASS MoCA. The bulk of this exhibition is made up of Waterston’s impressive paintings- murky, abstract landscapes with hints of representation that bring to mind the works of Yves Tanguy. The crowning achievement of this show is not a painting however, but a room entitled Filthy Lucre. Upon entering the room, I immediately recognized the interior from pictures I had recently seen weeks ago in my History of Modern Art class- it was James McNeill Whistler’s iconic Peacock Room: Harmony in Blue and Gold! Upon closer inspection I realized the room the room had been pleasantly perverted.
Whistler created the original room for a wealthy industrialist named Fredrick Leyland, who wanted a dining room to showcase his collection of ceramics. Whistler was asked to consult on the color scheme but, while Leyland was absent he painted the whole room by himself, even painting peacocks over the expensive 16th century leather wall coverings. The story goes that Leyland was furious when he saw what Whistler had done and not only refused to pay the artist’s enormous fee but also banned Whistler from his home. The artist later snuck in and painted two additional peacocks fighting, an allusion to his tumultuous relationship with Leyland. History has vindicated Whistler as the room as now known as masterpiece of the Aesthetic Movement.
What Waterston has created is modern reinterpretation of the Peacock Room. The colors and design are strikingly similar; however it appears that the room has fallen into disrepair. There are over 250 ceramic pieces that have been painted by Waterston in his unique style, and they are shattered, melted and chipped. The gold shelves are broken and buckling. Gold paint from the murals has begun to drip down the walls and golden stalactites have formed throughout the room. Over the fireplace, instead of Whistler’s Princess from the Land of Porcelain, a deformed Waterston version of the painting hangs. The fighting peacocks are even more vicious in their modern incarnations- one is tearing out the entrails of the other. Mold has taken up residence on the ceiling lamps. Adding to the mood is a soundscape by the band Betty that plays over hidden speakers, accompanied by hushed quotes from Whistler and the aforementioned porcelain princess in the painting. Clearly Waterston is riffing on the failed relationship between Whistler and Leyland, as well as the link between artist and patron. The title Filthy Lucre (inspired by one of Whistler’s paintings satirizing Leyland) comments on the necessary actions an artist must undertake in order to support oneself. In addition, it also brings to mind the excesses of Whistler’s time as well as modern parallels. Standing in this room was a powerful experience, and I highly recommend experiencing it for oneself.
Darren Waterston’s Uncertain Beauty is on display at MASS MoCA until Feb 1st, 2015
