My allusion to "Slim Shady" is a bit more provocative than I intended. The
point is that every artist (high or low) and their agents (likewise) want the
viewer, listener, reader et al. to become intimate with their work on one or
more levels. Porn and other simplicities shoot for the lowest common
denominator, but reeling the viewer in is still a must. On the other extreme
is Bernini (well maybe not that extreme) whose talent masks certain
intentions and is quite capable of "speaking" to the audience in a number of
ways.
The center of Bernini's St. Theresa can be read as mystical and erotic.
Actually at that point I have no problem with the combination or its position
within a church. A bit unusual, just like the Song of Songs, but still
apropos. If I could find fault at this stage is that the centerpiece is too
florid for my tastes. But, we are dealing with another ages artistic
criteria so I'll let that go.
The next step out, however, is mind warping (to me at least). The
centerpiece is framed by a stage and the stage by theatre boxes. In my mind
you would get a more subtle response by yelling fire in a crowded building.
The private contemplation is nothing more than a stage show; the whole is
cheapened for me.
So paradoxically, while the illusion of a private viewing was upon me, I felt
something sacred. When I turn to find it is being shared, profanity sets in.
If I must analyze it further, I get the impression that Bernini is being
very cynical: Theresa's mystical experience is just theatre; the church is
just theatre. So in the end, the mystical vanishes and all that remains for
me is erotic. Sorry, but this fish won't nibble on that bait.
mark
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