posted by Caroline Picard

I got very excited when I saw this review come along in March 19th’s NY times/ Art in Review. You can see the article in its original context by going here.

Future Phenomena: A project in the works by Amanda Browder

‘#class’

HOLLAND COTTER

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Published: March 19, 2010

Winkleman Gallery
621 West 27th Street
Chelsea
Through Saturday

Can we talk? That seems to be an urgent art world question, partly because of an economic shakedown that sensible people — i.e., the writers of art fair news releases — keep saying is over, or never happened. But New York artists, in need of jobs or apartments or ways to pay their art school loans, are pretty sure that it did happen, and that it isn’t all that over, even if the Armory Show really had an extraspecial year.

Winkleman Gallery is doing its part to keep the conversation on the boil with an exhibition called “#class,” organized by the artists Jennifer Dalton and William Powhida, who is on loan from Schroeder Romero & Shredder Gallery. The pair have turned the main exhibition space into a combination lecture hall and conference center, with big tables, sit-up-straight chairs and wall-to-wall chalkboards in a constant process of being filled and erased as the show’s events come and go.

So far, the schedule has included discussion panels titled “Success,” “Access,” “The Ivory Tower,” “The System Works” and “Bad Curating.” To get competitive juices flowing, the artist Amanda Browder of “Bad at Sports,” a Chicago-based art podcast, offered a presentation called “Battleship,” which pitted Formalists against Conceptualists, artists against dealers, and painters against the world. A bruiser, I hear.

The art historian and critic Mira Schor, author of an excellent new book called “A Decade of Negative Thinking” (Duke University Press), read an essay on the potentially positive aspects of failure and anonymity. And the writer Joanne McNeil led a panel on the notion that the art world isn’t as racially integrated as it likes to think.

So the show’s program is substantial. And there’s even something for gallerygoers in search of art on the wall. The chalkboards — think 1960s Cy Twombly — make for very entertaining reading. And Ms. Dalton and Mr. Powhida have small, conference-approved text drawings in the gallery’s back room. (They’re for sale, but with stipulations way too complicated and finicky to go into here.)

Bottom line: artists are artists’ best friends, and there should be more gatherings like this one.

Final thought: class, as in social class, is the elephant in the art fair V.I.P. rooms, in the art school studios and in Chelsea galleries. Please, can we talk? Yes we can: Friday at 2 p.m. in the gallery, the estimable art critic Ben Davis will present his “9.5 Theses on Art and Class.”

This article has been revised to reflect the following correction:

Correction: March 23, 2010
A review in the “Art in Review” column on Friday about the Aipad Photography Show New York, at the Park Avenue Armory, misspelled the surname of a photographer who has an electronically animated self-portrait in the show. She is Shirley Shor, not Shore.

Another review in the column, about “#class” at the Winkleman Gallery in Chelsea, misstated the given name of the woman who moderated a panel about racial integration in the art world and misidentified her occupation. She is Joanne McNeil, not Joan, and she is a writer, not an artist.

And another review in the column, about an exhibition of R. Crumb’s drawings for his illustrated “Book of Genesis” at the David Zwirner Gallery in Chelsea, misstated the address of the exhibition. It is 519 West 19th Street, not West 29th Street.

The Book of Genesis

June 10, 2009

posted by Caroline Picard

crumb-genesis-page

I was reading through the New Yorker the other day and came across a spread dedicated to R. Crumb’s illustrated version of Genesis. While the article is relatively short, it describes the difficulty of the subject matter–namely that Crumb “who says he suspects God exists” intended initially to do an interpretative version of the text, and then decided to illustrate the original. Because, he says, the original is so weird and so patriarchal.Whether complicit or critical, I don’t know, but I loved this paragraph of Francoise Mouly’s article:

“Since 1990, Crumb and his wife, the artist Aline Kominksy-Crumb, have lived in a medieval village in southern France. Aline decided that the [Genesis-illustration] project required monastic isolation, so she found her husband a shepherd’s hut and brought him baskets of food. ‘That’s why I dedicated the book to her,’ he says.”

Mostly because I like imagining Aline outlining her argument for why monastic isolation is so necessary.