Amei Wallach’s new documentary, “Taking Venice,” delves into the intriguing story of the 1964 Venice Biennale, where rumors of a conspiracy involving the U.S. government and art dealers to ensure an American artist’s victory swirl. The film explores the Cold War era when American intelligence agencies saw the fine arts as a tool to showcase U.S. dominance over the Soviet Union.
While the documentary doesn’t definitively answer whether the conspiracy actually took place, it sheds light on the unprecedented support American artists like Robert Rauschenberg, Jim Dine, and Jasper Johns received from their government. These artists were at the forefront of a movement that challenged traditional notions of art and emphasized the importance of the present over the past.
“Taking Venice” also raises questions about the role of art in politics and power, highlighting a time when cultural exports were seen as crucial to shaping America’s image abroad. The film prompts viewers to consider what it means to be an American artist in today’s global landscape.
As the 2017 Biennale unfolds, the themes explored in “Taking Venice” remain relevant, inviting audiences to reflect on the intersection of art, politics, and power. The documentary serves as a reminder of a time when art was a vehicle for expressing national identity and aspirations, a stark contrast to the current cultural landscape.
In a bonus review, Richard Shepard’s “Film Geek” offers a nostalgic look at the director’s love for movies, but falls short of providing insightful film criticism. While Shepard’s enthusiasm for cinema is evident, the documentary lacks the depth and analysis found in other similar works.
