Venus of the Rags

The essence of my writings lies in sharing the significance I attribute to why art matters. And, if you have been reading my curatorial essays, it becomes evident that I perceive art’s impact through its representation of culture, society, pressing issues, and activism, often conveyed with subtlety rather than didacticism. One great example of this is, Michelangelo Pistoletto’s “Venus of the Rags.” In the eye of the viewer and over time certain artworks take on new layers of meaning, much like this work of art.

Pistoletto juxtaposes a replica sculpture of Venus, the goddess of love and beauty, next to a heap of discarded rags, which he utilized to polish and embellish his metal and mirror pieces. Through the late 60’s and early 70’s, his multiple versions of “Venus of the Rags” coincided with the Italian Arte Povera movement. Translating to “poor art,” this movement rejected the idealism of minimalist Modernism and traditional approaches. Artists associated with this movement repurposed commonplace or inexpensive materials, subtly critiquing industrialization, mechanism, and the dominance of modernist abstract painting and American Minimalism.

To my eye, “Venus of the Rags” embodies a multitude of contextual meanings and contrasts. The whiteness (and in some renditions gold) of the Venus figure, emblematic of Western classical ideals of beauty, stands in contrast with multicolored rags and/or used clothes. It is a confrontation that alludes to colonialism. It symbolizes European explorers and artists (for example Paul Gauguin) imposing their presumptive elevated taste onto indigenous cultures, haughtily looking down (like the Venus sculpture gazing down at the rags) on what is considered tribal or savage, while simultaneously appropriating its “exoticism” for uses in fashion. Their caste of judgment on nudity critiques the exploitation of the female body and the imposition of Western ideals of modesty and dress standards.

Arte Povera carried sociopolitical undertones, serving as a critique of aristocratic, upper class values versus struggles of immigrants and the working class. Could Pistoletto have consciously or unconsciously intended “Venus of the Rags” to symbolize the disregard for manual laborers in the production of luxury items, including diamond and gold mining, and the fashion industry’s exploitation of sweatshop labor in developing nations? Couture houses sourced India, Sri Lanka, China, Bangladesh, Malaysia, Pakistan, and other nations where labor was cheap to make their planned obsolescence of in-fashion-today and out-of-fashion-next-season creations. This practice led to more fashion brands mass producing cheap clothing to be thoughtlessly consumed only to be meaninglessly discarded. The cheap, ready-to-wear clothing is then dumped back into many of the same countries (and others) that made them as piles of waste.

Art takes on its own meaning/resonance outside the artist’s studios. “Venus of the Rags” holds its own history and cycle of change. Pistoletto’s versions began with a cement garden replica of Venus standing abreast discarded studio rags, it evolved into plastic casts and marble statues facing used clothing. The artist’s statement alluded to the notion that all forms and materials could be used in the making of art. Today, “Venus of the Rags” resonates as a symbol of overconsumption. In 2009 Michelangelo Pistoletto acknowledged its transformation into an icon of recycling, one he may not have anticipated. Moreover, Pistoletto’s founding of Fashion BEST (Better Ethical Sustainable Think-tank) underscores an objective to implement ideas on sustainability and social responsibility in the fashion industry, from choice of raw materials to design, from production to training.

However, many may argue that sustainability in the fashion industry (not to mention most consumer related businesses) is anything but sustainable and it is merely a feel-good marketing ploy. The pressure for unrelenting growth and the drive for profitability merged with consumer demand for cheap, fast, and new are reasons that sustainable fashion is a failed concept/model. So, the question remains, how do we halt this runaway train?

“Venus of the Rags” epitomizes the contrast and contradictions that we face today: between high art and common everyday objects, historical classicism and the contemporary, wealth alongside poverty, precious versus disregarded, as well as the nudity facing a pile of used, unwanted garments and rags representing our omnipresent and overabundant mindless overconsumption. Whether Pistoletto intended this or not, the monumental waste we face today was likely beyond his foresight.

Part Two: Slowing Down the Train

Wouldn’t it be a better and more successful model if objects were designed to last generations? What if the objective was to build for quality and longevity prioritizing durability, reparability, and timelessness rather than for obsolescence? Why don’t we consider the extended lifespan of objects, passing along and reusing rather than dispatching them to a mountainous landfills? Perhaps we should reconsider our disposable relationship with the objects that we once invested in and treasured.

Are we trapped in a relentless pursuit of desire and consumption, which capitalism cashes in on? Capitalism thrives on our insatiable appetite for things, constantly convincing us that what we have is not enough or that it’s old, worn, and out of fashion. It is human nature to desire for the desire. This endless cycle of want seems inherent to human nature. What makes a person want so much? Is there any limit to the hunger and desire for more?

Understanding the psychology behind desire and consumption is essential for addressing the root causes of our unsustainable behavior.

The consequences of human overconsumption on a planetary scale is staggering, unfathomable. We must become more mindful of our consumption habits and cultivate a more authentic and valued relationship with our belongings. Whether out of necessity or emotional impulse, we chose our possessions because they brought us a spark of joy, beauty, and fulfillment. They became a part of our expression and memories.

Embracing sustainability and adopting a more mindful approach to consumption involves being aware of the environmental, social, and personal impacts of our purchasing decisions. It requires conscious choices based on need, quality, and ethical considerations rather than succumbing to impulse or societal pressures.

Acknowledging our part in this cycle of want, desire, and consumption is a first step that leads to slowing down the train.