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Leon Neyfakh of The New York Observer takes aim at the shit that floats in the art world and boy does he make his case.
In “Bullshit Artists,” he quotes curator Robert Storr, who is also the dean of Yale School of Art, on numerous occasions and I’ve never heard Storr sound more insightful:
“Some people think while they’re talking and other people don’t … People who think while they’re talking are interesting to listen to even if you disagree with them and even if they have a weakness for certain kinds of intellectual cliches. But people who are just broadcasting received opinion are not interesting no matter how clever they are.”
For Mr. Storr, the rise in pseudo-intellectual nonsense is the result of a growing art world, not necessarily a function of the art market.
“It’s always been like this, but the magnitude of everything makes it different … The art world really was a lot smaller within my relatively recent memory. We’re just talking about tons and tons of people out there, playing. And your chances of bumping into the less inspired ones have increased exponentially.”
“There was a time when some serious thought that later got reduced to catchphrases nonetheless was serious, and nonetheless did convey something about the art … The turning of ideas into pitches, so to speak, was at the cost of ideas. We lost some good ideas because they got turned into spiels.”
Now there’s a man I want to attend an art opening with.
Art by Athena LaTocha, Wendy Red Star, Marianne Nicolson, Anita Fields, Jaune Quick-to-See Smith & Neal Ambrose-Smith, and more is on view through January 2022.
Unless you were already familiar with Bey’s documentary work, the horror he refers to might not be recognizable to you.
The intention behind the seemingly bizarre combination was, according to Attie, “to give visual form to the shared American and Brazilian reality of nationalistic divisions that defines our political present.”
Nowhere in the museums’ advertising blitzkrieg for the performance were we told to bring our wildfire-season masks as well as our covid masks, and covid masks don’t prevent smoke inhalation.
View work by over 40 experimental artists and collectives from throughout the Americas who contributed to New York’s art scene during the 1960s and ’70s.
Several members of the 2021 cohort identify as artists and storytellers, utilizing the power that art and narrative have on changing ideas of power.
Made possible by a donation from Amazon stakeholder MacKenzie Scott, the award is the single largest in the Bedstuy-based organization’s history.
A donation of two hundred works includes Jean-Michel Basquiat, Robert Mapplethorpe, Keith Haring, and Donald Baechler.