The palimpsestic drawings and irreverent captions dissolve into senselessness, upending the ubiquitous cartoon medium.
New Yorker art critic Peter Schjeldahl has retracted his position endorsing the sale of the Detroit Institute of Arts collection, a stance which provoked a furor driven in no small part by Hrag Vartanian’s denunciatory piece from Wednesday. Schjeldahl strikes a sincere tone in the brief update and apologizes for his “hasty” conclusion, opaquely quoting Hyperallergic (“a blogger”) in conceding the oversimplicity of his analysis and the significance of cultural patrimony.
Now that Jerry Saltz has proven himself — yet again — to be an attention whore with his stint on Work of Art, I’m starting to like him more … yes, I love a car crash. And just when we were all jonesing for another fix of “What is crazy uncle Jerry up to?” Artist Jennifer Dalton is opening a show today at the Flag Art Foundation called “Making Sense,” which (among other things) is an “ … attempt to make sense of … New York magazine art critic Jerry Saltz’s incredibly popular Facebook page.” Let the games begin …
At its best, modern art begs the question, “Is this art?” There is a death wish that threads modernity – death of God, death of the author, death of history, even the death of the modernity itself (the post-modern) but perhaps most insistently of all, is the existential interrogation that is modern art.