The prospect of opening a major show in Denmark this year made Robert Longo feel apprehensive. As an artist whose work is often seen as quintessentially American, he found himself questioning how his art would translate to a foreign audience.
Longo had to grapple with a complex issue: what does it mean to be a 'very American' artist on the international stage today? His large-scale, powerful works often provide a sharp critique of American society, politics, and media. He was uncertain if the nuances would be understood or if they'd be dismissed as simple anti-Americanism.
The exhibition in Denmark felt like a pivotal moment. It wasn't merely about showcasing his portfolio but about navigating the delicate cultural currents that define how art is perceived across borders. Would the Danish audience connect with the universal human themes within his work, or would they be too focused on its American origins?
This internal debate highlights a larger identity crisis for artists in a globalized world. The title of the story itself poses this question, suggesting that for Longo, the show was as much an exploration of his own artistic identity as it was a presentation of his life's work. His nervousness stemmed from a place of deep artistic and cultural consideration.