How two beloved institutions showcase and support artists working outside of the mainstream art world.
Matthew Higgs
Posted inArt
A Painter Who Captured London’s 1980s Reggae Scene
The British painter Denzil Forrester, who is currently showing at White Columns, talks about how he made art and was a fly on the wall at reggae and dub music venues.
Posted inArt
Can a Blue-Chip Collector Go Against the Grain?
With the economy slowly creaking back to life and a good deal of speculation about an imminent art market bubble burst, the intrepid collector and writer Adam Lindemann has seen fit to open a brand-spanking-new gallery in the lap of luxury at 980 Madison Avenue.
Posted inArt
A Populist Attack on the Art World Pulls Punches
According to Eric Doeringer, the artist-curator of I Like the Art World and the Art World Likes Me, the exhibition’s title—a nod to Joseph Beuys’s 1974 performance “I Like America and America Likes Me”—is meant to convey the “fraught relationship between emerging artists and the art-world establishment,” one marked by a simultaneous desire to criticize the art world’s excesses and to be recognized by it. Art about the institutions of art, both physical and discursive, is hardly a new phenomenon, but unlike Marcel Broodthaers and Hans Haacke, cited by Doeringer as predecessors for the work included in this exhibition, what emerges most clearly here is not “institutional critique” but a sense of anxiety or anger about the artists’ own marginalization and lack of mainstream success.
