Csányi Marietta et al. (szerk.): Tisicum - A Jász-Nagykun-Szolnok Megyei Múzeumok Évkönyve 25. (Szolnok, 2016)

Művészettörténeti tanulmányok - Zsolnay László: Szamuely derékszíja. Önarckép kortárs képzőművészeti tárlatok ürügyén

TISICUM XXV. - MŰVÉSZETTÖRTÉNETI TANULMÁNYOK

IRODALOM

László Zsolnay

SZENTKUTHY Miklós

1985. Múzsák testamentuma. Budapest. WOLFE, Tom

1984. Festett malaszt. Budapest.

Szamuely’s waist-bend. Self-portrait on the pretext of contemporary fine art exhibits

It is three decades now, that my life revolves around the world of fine arts, as my profession is an art historian. The enthusiasm, anxiety from the meeting with the great masters left soon. I still count myself lucky for getting into this world as an outsider, but for a certain degree I can look upon this world as an outsider again. The first warning signs appeared during the university years. I came from outside and from the countryside. Just this was enough, so I couldn’t feel myself comfortable in the artist-world. I was at a disadvantage against several of my co-students as they born into this milieu, because their parents were artists, famous art collectors or art historians. This appeared in the teacher-student relations as well. I noticed that they have a common language, common words, names, along these they understood each other, and I had to realise that this language is difficult to learn from the outside. I started to suspect that there are different stables, which are closed, like in Formula 1. You can fan for them from the outside, but it is hard to get in as the exclusivity of these closed group lie in small numbers. They have their own language, favourite place, salons, newspaper, audience and sometimes clothing as well. They open their exhibits for themselves, it is not important that audience could understand it or not. Is it possible that the art historian profession became inbred and have a role in the low attendance of exhibitions?

490