It is self-consciously a museum built in the spirit of the nascent “slow art” movement, which is a reaction to larger forces afoot in the art market, democratic culture and the age of Instagrammable art. In his 2017 book, “Slow Art,” the critic Arden Reed proposed looking at an alternative history of art that ran counter to ideas of speed, commerce and consumption. The goal, he said, is a landscape in which people can “meander.”David Hammons’s 1988 installation, "How Ya Like Me Now?," is on view at the Glenstone Museum. "Several," 1965, on view at Glenstone Museum. Underlying all of this is an anxiety too discomfiting to be openly expressed: Are contemporary art museums, in fact, providing something of value to the public?

Source: Washington Post August 30, 2018 19:52 UTC