Questions of authenticity surrounding four year old Marla Olmstead's paintings occasion filmmaker Amir Bar-Lev's insightful investigation about media frenzy and public perception, and the very nature of nonfigurative art.
New York Times senior art critic Michael Kimmelman offers sharp insights when he mentions how Marla's painting reflects not just 'innocence' and what our psyches project into them, but also 'the cynicism of the art world.'
The paintings become colourfully self-deluded distortions of a world where adults project themselves back into childhood, capitalizing on both the adult nostalgia for innocence and our fascination with children who seem somehow adult.
Documentary filmmaker Amir Bar-Lev's "My Kid Could Paint That" is an impressive feat in that it revels in its own ambiguity while still giving us a very entertaining, ripped-from-the-headlines mystery story.
Raises compelling questions about artistic 'authenticity,' the 'meaning' of modern art, the voracious and double-edged demands of the news media, the exploitation of children and the nature of faith itself.