Looking back on my firsthand experience with The National Arts Club, the concept of it being a bastion of a hoarding ground zero (as it became, depicted in the picture above, under the tenure of President O. Alden James) wouldn’t have really rung true for me unless you were referencing a clown car of fuddy-duddies from back in the day, seemingly replicating like rabbits with each tick of the dusty grandfather clock.
Recently I had the opportunity to speak with photographer Timothy Greenfield-Sanders about The Black List: Volume III, his increasingly popular documentary series on the African American It-list, which premiered February 8, 2010, on HBO.
Marianne Boesky, you saucy little wench! Mine eyes had never taken you for propagating such a meat market amidst such stagnant clinical settings. You always seemed more the proper uptown type, rather than mistress of Manhattan’s nether regions.
Now that I’ve gotten that out of my system … walking into Ms. Boesky’s current five-man exhibition I felt at any moment some Neanderthal would ambush me from the rafters to have his way with me. Focusing on the more brutish and texturally risqué works of Jorge Eielson, Donald Moffet, David Noonan, Steven Parrino, and Salvatore Scarpitta, Stripped, Tied and Raw is a wonderful exploration into the power of fabric as sexual metaphor and how a simple fold can be much more than the sum of its parts.