Author: Evan Bryson

Doomscrolling with Cats: A Review of Andreas Fischer’s And apologies for bringing this up

Late in her essay on the painter David Salle, Janet Malcolm records his thoughts on Francis Bacon, for whom she sees a comparison in the “dire cast” of their figures on canvas. Salle’s women (“degrading, depersonalized, fetishistic images,” per one review), and Bacon’s men (troubling, car-smashed meat sacks, per my own recent Google search), do share a quality of doom. Yet Salle is quick to deflect an affinity. “Bacon is actually not an artist I’m interested in,” he says, “but lately I’ve been thinking about him a lot in attempting to defend myself against certain criticisms.” He continues: “If you turned these criticisms around and leveled them against Bacon, it would be absurd. And it’s purely because his work is homosexual and mine is heterosexual. The same attitudes transposed are incorrect.” “Why [asks Malcolm] are dire images done by a homosexual more correct than those done by a heterosexual?” “Because in art politics, to be homosexual is, a priori, more correct than to be heterosexual. Because to be an artist is to be an outsider, …