Theory: April 2007 Archives
Christian Patterson recently asked whether people care to have their photography listings mixed in with the "art." It's basically a functional question, though it always begs the question of whether photography is Art with a capital "A". Today, Artworld Salon has underlined why my preference is for separation. Basically it is a lament that artist "brand names" can turn trash to treasure, sometimes literally. Certainly this happens in the photography arena as well, but I'd suggest it isn't nearly as core to what contemporary photography is compared to contemporary art because of the latter's heavily reliance on concepts and fabricators.
Though, with photography, perhaps the "rubbish" is just easier to hide.
UPDATE: More on this at ArtKnows.
Jerry Saltz recently left the Village Voice for New York magazine. His first review has been posted to the New York site, covering the new show at the National Academy Museum and School of Art entitled "High Times, Hard Times: New York Painting 1967-1975". The show closes in a week, strangely.
Set the Wayback Machine for 1971, the midpoint of the show, and the place to downtown New York. The fast action and grand movements of the sixties are over. Art is living on its own, out of the limelight; artists are occupying cheap lofts and hustling odd jobs. Almost no one is making money from art, and anyone who does is considered a sellout or a critical failure. Video, sculpture, and performance are flowering, but painting is in trouble. Many say it’s through.
Wow, times have changed. (But painting is still dead.)
High Times, Hard Times: New York Painting 1967-1975
Through April 22 at National Academy Museum and School of Fine Arts
1083 5th Ave at 89th St
(212) 369-4880
