
Björk is a restlessly experimental (and therefore fallible), tremendous creative force, not a tarnishable brand. CREDIT PHOTOGRAPH BY JONATHAN MUZIKAR
The opening paragraph of this brief review is worth the click, but the point we would like to bring to your attention is what follows. Sometimes an artist’s museum show can be taken down, critically speaking, with the museum bearing the brunt of the shame. And this point is directly linked to the now well-established concern that art in our age is as much a racket as it is an essential embodiment of culture. This reviewer, and his peers quoted in the opening paragraph, remind us of why we depend on critics for the insight that comes with an occupation whose singular focus is to help us decide whether a certain journey is worth making, or not:
…And yet Björk is unscathed. All the critics (now including me) hasten to acknowledge her musical genius and personal charisma. No detour into lousy taste—even at times her own, as in her partnership, lately ended, with the mercilessly pretentious Matthew Barney—can dent her authenticity. Her music videos (an oasis at the show, in a screening room) typically bring out the best in collaborating directors, musicians, designers, costumers (notably the late Alexander McQueen), and technicians. But if she chances to bring out the worst in star-struck curators, so what? Björk is a restlessly experimental (and therefore fallible) tremendous creative force, not a tarnishable brand. Continue reading


















