Jacques Louis David, “Oath of the Tennis Court,” pen washed with bistre and white highlights, 1791.

Hello everyone. I’m writing on an enormously significant day not only for United States governance and politics, but for its future cultural production as well. It is no great leap of faith to note how many key shifts in art have resulted from major changes in political context, and one can only hope that the present one is both dramatic and positive for the creative worlds that we hold dear and rely on for insight.

In my week-and-a-half of guest blogging, I will be endeavoring to shed light on practices and trends that highlight ways in which art is at present intersecting with other fields of production. I will also do my best to report on some of the best exhibitions currently taking place in New York City, where I am based.

A longer entry is coming tomorrow. For now, enjoy the inaugural glow!

  1. A'yen says:

    is that the tennis court oath?

  2. Daniel Quiles says:

    Why yes it is. I thought it appropriate for a figure who so emblematizes the ideal of consensus that David tried to depict in this work.

    David, incidentally, never finished this ultimate statement on the French Revolution, for by 1791 the Revolution was already eating itself. A representation of total consensus and unity had already become an absurd gesture.

    Not to rain on anyone’s (inaugural) parade, but I always think about David’s unfinished image when Obama speaks of “perfecting our union.”

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