With the Weinstein reckoning an artist whose work touches on this reality of abuse has been removed
. Should the prophylactic response be used here? Do we remove anything that might be provoking or address inconvenient truths? It certainly wasnt Weinstein-enabling, if anything it addressed his type of behavior when others wert gym curator
re turning a blind eye. Earlier this year Sam Durant's piece at the Walker made sense to remove... those gallows were simply like dancing on graves though it worked when initially shown at Documenta (why was the Walker so tone deaf and not understand that it worked in Europe but not the USA?). The difference here is the Hollywood day bed was more nuanced... perhaps too much for a retail setting but that's popular culture failure not the artist's or the work's. True freedom requires dissent and the mainstream left can cause greater harm to itself by by policing culture and general dissent. As a critic I try to engineer pressure points where the inconvenient is foregrounded and to try to drive these upsetting things back into the background is a kind of censorship.
The Art Gym names Ashley Stull Meyers as its new Director and curator. Good that she has a background in marginalized communities... but how is she on dissent? Portland is a city of dissonance but its arts institutions are mostly very safe... rewarding those who sit on panels but not work that causes an uproar or provoke discussion. It is a civic weakness that requires correcting rather than mutual congratulation societies. We wish her well and hope she has the full support of the university as these programs have come under increasing pressure. What's more Portland is a notoriously tough place to fund raise and being new often means 5-10 years of proving yourself.
Artnet asks who the most influential curators were
. That's an interesting question, mostly because curators... particularly those at museums have been losing cache (going mostly to directors, most who act like curators but often arent... when they are both the split attention can be a blessing or curse). I wont make a silly top 10 list but here are my picks: My favorite was likely William Rubin (whose time at MoMA explored risk as cultural currency), other MoMA greats like Alfred Barr, Kirk Varnedoe and Robert Storr
all matter. Im a fan of Lynne Cooke and I want to name Ann Philbin who is technically a director. Pontus Hulten, Okwui Enwezor
, Hans Obrist, Paul Schimmel and the brilliant Walter Hopps come to mind as well. We just dont have that many brilliant curators at major museums any more... they typically act like investment portfolio managers managing risk rather than ... (more)
Andrew Wyeth, On The Edge (2001)
The Wyeths: Three Generations at the Portland Art Museum
feels more like a family gathering than a museum survey... because that is exactly what it is. It is a good thing. Whether you love Andrew Wyeth's bone ghostly landscapes or his masterful wisps of existential hair in hardscrabble Americana or not this exhibition extols a waspy New England generational presence, like a Thanksgiving Day rendezvous with all the familial dramas, humor and warmth simmering underneath. That said, I am an unrepentant Andrew Wyeth fan despite the work never really being couth in Greenbergian... then Artforum circles (a sign he was on to something) and I also grew up appreciating N.C Wyeth's illustrations. All of which contributed to a more fluid appreciation of visual culture that doesnt put artificial barriers up between graphic art and Art. As a family, the Wyeths cover the whole spectrum... but Andrew Wyeth is the great one and the reason there is a traveling exhibion of his family's work. There's a vitality in this filial arrangement. Patriarch N.C. Wyeth has a fantastical bent, Andrew's world is haunted and Jamie brings humor and nature's animus. True, this a lot of waspishness here in a time when all white male Newenglanders are reviled as a kind of LLBean clad Brahman class in the US socio-political landscape but I am a firm believer that no one be they Mexican, Jew, Irish, Italian, Nordic or Hmong should have to apologize for what they are and what their culture brings to the table. There are some truly marvelous works, especially the large Andrew Wyeths that are not behind glass, several N.C. Wyeth oil paintings that became book illustrations and a witty conclusion with Jamie Wyeyth, whose painting of empty adirondak chairs sums it all up. Make certain to stream Victoria Wyeth's sold out talk on Sunday on PAM's Facebook page (It wont be archived so you have to watch it real time)... Victoria is a hoot and really brings the family history into perspective
The Wyeths: Three Generations
| October 7 - January 28, 2018
: October 8th 2PM
Portland Art Museum
1219 SW Park Ave
The latest show at Indivsisble, Coded Albumen, features artists Bukola Koiki and Angelica María Millan Lozano. The work explores the way immigrant women have always been crucial instigators of political action though code. Just to restate the obvious I love how Indivisble brings art into a domestic space and in many ways this is what contemporary art at the institutional level has lacked... a sense of extraordinary connection to everyday life... hopefully this latest show at Indivisble distills this important thread...
Coded Albumen | October 7-28
Reception: October 7, 6-9PM
October 14, 21, 28, noon to 5PM, and by appointment.
2544 SE 26th Ave