“Matthew Wong: The Realm of Appearances,” at Boston’s Museum of Fine Arts, is the oddest of ducks, a superb exhibition in which half the paintings are clumsy. Even some of the superb ones are half clumsy. That’s Wong’s charm in a nutshell, though: he seems to have had little interest in producing tasteful, polished, well-made art, thank God. His limitations were obvious from the start; in the years leading up to his suicide, in 2019, at the age of thirty-five, he didn’t correct them so much as put them to work. Once he got going, his compositions stumbled their way into smart choreographies, and his colors could be so dog-whistle shrill as to land with an eerie hush. He was a terrifyingly fast learner, too—walking through this show is like watching one of those timelapse videos of a plant exploding out of soil. In a fair world, there would be a forest by now.
Wong painted landscapes. Art history offers a few possible terms for his style: “naïve art,” “outsider art,” “art brut.” “Outsider art” seems to be the one that’s stuck (“Outside,” a 2016 group show in Amagansett, helped put him on the map), though the truth is grayer. He taught himself to paint, but only after he’d cooled on photography, the subject of his M.F.A. He spent little time in New York but years in Hong Kong, home to the third-biggest art market on the planet. Despite being tall, good-looking, and snappily dressed, he often felt uncomfortable around people, and struggled with depression and autism. He had powerful allies in the Manhattan gallery world, though most of them he met only near the end of his life.
Diese Geschichte stammt aus der September 11, 2023-Ausgabe von The New Yorker.
Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.
Bereits Abonnent ? Anmelden
Diese Geschichte stammt aus der September 11, 2023-Ausgabe von The New Yorker.
Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.
Bereits Abonnent? Anmelden
THE SPACE BETWEEN
\"Janet Planet.\" The first time we meet Janet in \"Janet Planet,\" a wondrous début feature from the celebrated playwright Annie Baker, she is standing on a rural road a little way from the camera.
LABOR PAINS
Lucy Kirkwood's \"The Welkin\" assesses women's work.
OFFLINE
Lizzy McAlpine on the power and pitfalls of viral fame.
HEAT RISING
The era of the line cook.
UNSHATTERED
How the philosopher Charles Taylor would reënchant the world.
THE PLAGUE DOCTOR
Anthony Fauci on what's ailing America.
the buggy RODDY DOYLE
There were people at the far end of the beach. Some adults, a lot of children.
GHOSTS ON THE WATER
Glass eels are mysterious creatures—and worth a fortune to those who catch them.
THE CRACKDOWN
Fighting drug gangs, a young President declares war within his own country.
SMALL WONDER
How will nanomachines change our lives?