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Volume
I Issue 3
2 August 1999 |
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The Year That Was: Marching Toward the Millennium by Therese Schwartz
[Part Three of Four] Twenty-five years ago I wrote a series of articles for Art in America titled "The Politicization of the Avant Garde" which recorded the art and the activities of artists in the 1960's and early 70's. Although I am a working artist, not a critic or historian, I have an obsessive interest in what motivates us and what kind of art is produced in a particular time and place. I decided to take one year in these last 1990's and make a record of what I saw. I chose the season ending June 1998. I know that the present is not a time of "break-throughs," and that each of the last years of this century is very much like the one before it and the one following. Therefore, my record of any one of these last three years would be a reliable picture of the current art world. Part One of this article, in the Newsletter of 6 July 1999, described generally the motives and production of artists working in all media today, in particular the luxuriously enhanced trend in Installation Art and its probable source in the booming stock market. Part Two examined the overwhelming number of exhibiting painters and the extraordinary diversity of style. Now Part Three looks at art with a political agenda, including feminist work; sculptors in a variety of media; and recent exhibitions of work by internationally respected "icons" of the art world. Messages In The Medium There were some artists who intended their work to carry a message. Some were multiculture-political and a smaller group was feminist. There is silent accord now on the value of art as a fighting tool. And the small number who used it that way indicates it is generally believed to be ineffective, usually seen only by the already converted. Multiculture, Politics, Environment: The season's political art reflected a microcosm of out-of-maintenance politically active groups. With only minor reference to styles of the past, these shows did not have common themes. Each artist worked with a subject of particular concern and no one was doing much looking at anyone else. Michael Ray Charles (Tony Shafrazi) took black minstrel show stereotypes and used them in paintings of biting irony to illuminate a time when these clichès were supposed to define a whole population. Rita Ackerman (Andrea Rosen) with cartoons in Pop-Funk language, lit up the drug-rock-sex-fusion scene of a generation. These were her observations, and since this is also her generation, she could be right on target. Christy Rupp (TZ' Art) was into the poisons of pollution and this assemblage presented charts of toxic materials along with condemned specimens. Luis Jiminez's show featured a Hispanic presence with a mural drawing and giant heroic sculpture. A huge and arrogant horse threatened to take over the whole space. Juane-Quick-To-See-Smith (Steinbaum Krauss) is a Native American, and her collaged paintings were rough and angry stories of tribal conditions. She also included delicate and loving drawings of native animals. Gregory Green's show (Feigen) was a collection of complicated structures highlighting a climate of violence; it also included ideas for small groups interested in developing techniques for change. The message was thoughtful and serious but offered no pat solutions. Thomas Ruff's "Plakats" (3 0 3), a European version of agit-prop photomontages and posters reminiscent of the 60's, were satirical but obvious, and a bit out of sync now. Guy Goodwin's quiet paintings (Bill Maynes) described the decline of an American city. Urban decay is tragic, and with cool, pale blue detachment, this show said it. There were other shows that reflected the present and could in a stretched interpretation be considered political, but I kept this group to those who I thought had been announcing a clear conviction or a hope. Feminism for the Future: When Feminism in art appeared in the early 70's it was angry, sexy and loud. It is still around, but the artists engaged with it last year were more personal, and not so concerned with the superiority of women or the evil in men. It is understood now that in art, as in show biz, there are no grade promotions; the fight is always separate and single. The following shows were contemporary versions of feminism as subject matter: Allison Saar (Phyllis Kind), with sculpture and other expressions, featured the role of hairstyle in the lives of African-American women. The materials, some of them over-sized clumps of hair on large figures, seemed to be metaphors for the peculiar importance of coiffure for most women. Susan Bee (AIR) reached back with images of little girls and touched a sensitive spot. These paintings could be seen as either sentimental or deeply ironic, because for some women the best time in their lives was when they were admired, desired and very, very young. Bette Alexander (55 Mercer) made big imposing Mother Earth figures, mixing her paint with real dirt. It could be an all-inclusive celebration of sex, but the actual result, while well-intentioned, was heavy and dark. Joan Snyder (Hirschl Modern) is a well-known painter interested in women's concerns. In this show, however, her vision was turned inward and these uninhibited and mildly erotic canvases seemed revelations of herself, her tastes, her dreams. Perhaps this is one way to be truly liberated. Elke Krystufek (3 0 3) a European artist, went into history and used an inmate of the 60's Warhol Factory, Edie Sedgwick, and also herself, in angry sarcastic portraits. They were almost anti-feminist in their gender mockery, and strangely out of date. In contrast, Elena Del Rivero's paintings (Sandra Gering) were lightly touched, pale and pastel. I read their feminist motive in their subjects - some of women in bridal gowns rendered so that they were hardly visible. Perhaps a comment on the stability of marriage today? This was not the total of Feminist work. Group shows were not included and there were some that I did not see, but compared to other years, the number of group shows was very small. Not because there are fewer artists who are women - there are many more now - but they are not a group and they don't send united messages. Sculpture Is A Many Sided Thing Sculpture shows here were not numerous, but they provided variety: two exemplary shows of public art, an appearance by a painter in a new medium, traditional realism, a few examples of Abstract Expressionism, some versions of Minimalism and Conceptualism, and some exhibits of elegant ceramics. Public art: Tom Otterness (Marlborough) made a display of odd animal figures flavored with humor, executed with skill, and wonderfully suited to a young public not necessarily knowledgeable or interested in "art." It delighted the eye, stirred the imagination, and so achieved its purpose. Siah Armajani (Max Protetch) was more formal, concerned with the furniture and fittings for a park; the models were professionally manufactured, and their locations were specified. Accompanying material explained that these pieces were to be used, walked across, or sat upon, or were ingeniously designed fountains. Eric Fischl (Gagosian) was the painter who turned to sculpture last year, and while I am just guessing, his motive could have been a need to reach a higher level of humane concern - something like the yearning in Steven Spielberg's recent movies. The motive, while admirable, too often results in self-conscious virtue, which the twisted, unhappy figures in this show reflect. The carved figures in the work of Marisol (Marlborough) change from year to year, but they always carry her unmistakable signature - they are humorous but presented seriously, the subjects blunt but sympathetic. In this show she used the circus midget Tom Thumb, his wedding, and his wife. Marisol's sculpture was first seen in the late 50's, and at that time it was sharp, a kind of social comment made by caricaturing public figures. Going back into entertainment history is different; while the quality of her work remains, the bite is gone. An unusual combination of sculpture and video was used in Matthew McCaslin's show (Feigen Contemporary) in which quiet structures held moving images on city streets. Reality and metaphors of time and space were used to create a picture of simple everyday happenings in a half-real, half-imagined, possibly surrealist place. Versions of Abstract Expressionism: Thomas Schutte (Marian Goodman) assembled large, painted Wagnerian figures that invoked silent tragedy. They were posed closely but each seemed alone. The show, titled "Die Fremden" (the foreigners), carried a sense of painful isolation, a feeling probably experienced by city inhabitants everywhere. John Van Alstine (Nora Haime) in abstract mode, used metal and stone in rough, informal arrangements. They were Expressionist only in that they resembled in essence the free-hand expletory paintings of the first round of Ab Ex Artists. Younger artists lightly coming under this heading were Sherry Markovitz (Monique Knowlton) who constructed her figures with tiny colored beads. They were bright and decorative, with their shiny surfaces requiring no wordy interpretations. And Bonnie Collura (Basilico Fine Arts), whose material was plastic molded to resemble plaster, presented a crowded collection of roughly constructed pieces that attempted to express a critique of the current social scene. How to do this today is a problem for many, and perhaps with time, this artist will find a way. Tony Cragg (Marian Goodman), a British artist, is experienced in elements of biology and chemistry, and several of his large sculptures were made of material resembling skin stretched over hollow vessels. Impressive bronze pieces continued the theme of an organic presence, universal, tangible, and not to be trifled with. Jack Youngerman (Washburn), whose carved wooden pieces have been seen for two decades, showed his recent work, which again was personal, emotional, and exquisitely finished. Versions of Conceptual and Minimal: Roxy Paine's (Ronald Feldman) intricate machine, which could simulate the act of painting, was the dominant piece. Of course it was not meant to be a timesaving device, since time is not the most pressing demand in the lives of most painters. One would have to conclude that it voices a concern about some who fashion their work to attract an immediate trend. Among the Minimalists were Yosuke Ito (55 Mercer), with an assemblage of identical folded paper pieces carefully placed in arithmetic order, and Richard Troy (O K Harris), with several slender wooden sections titled "Chapel" which reminded me of the earliest examples in this style. Sasson Soffer's show (Grandstreet) was an impressive display of metal maquettes for sculpture designed for public spaces. Gwynn Murrill (Washburn), whose pieces are frequently commissioned for American Embassies, was the only sculptor I saw whose work could be called "traditional." Some of the eagles were very handsome. Ceramics: Betty Woodman's (Max Protetch) beautifully crafted wall pieces, vases, vessels and other unusual shapes, were surfaced with clear color in this easily pleasing show. Kathy Butterly (Franklin Parrasch), showed small female figures with somewhat mysterious content. Some turned themselves into simple shapes such as urns, and all carried a delicate eroticism. Finally, Anne Kraus (Garth Clark) exhibited pots that were well made, clever, colorful and altogether appealing to a consumer. There was nothing apologetic in this gallery display, which could just as well have been shown in a crafts fair or a retail store. Icons I turn to a group I think of as the icons of our time; they are known internationally, famous and respected. But they are not revolutionists. They are not influencing great changes in style or attracting masses of followers. Each stands alone. This is true of those living and those no longer. Just as in the national picture, we have VIP's but no heroes. Nothing here judges quality, but rather illustrates the attention span of the current art world. Frank Stella (Knoedler & Co.) in his own words is "a manipulator" and that is a positive interpretation. In the imposing sculptures he showed, he took the cultural contradictions of our time - the hype, the destructive motives masked as good, the power struggles, along with the still existing need for honest revelation in art, and made a resolved, visible statement. Its allusion to classics was just trimming; this work didn't need it. Anthony Caro (Marlborough) showed huge pieces augmented by ceramics, elaborately narrating the tragedy of the Greek Trojan Wars. What was revealed was a smashing attempt to present something monumental combing ancient history and art. What was hidden was its possible relevance to the present. Cindy Sherman's show (Metro Pictures) was a continuation of her assemblaged paintings of items in various stages of decay. It featured slime, slices of butchered flesh and other examples of calculated horror. I sensed a connection with Hollywood special effects, and in that it is truly reflective of a significant aspect of the present. George Segal (Sidney Janis), in a variation of his usual medium, presented paintings based on memories. His father was a butcher and these deep red paintings were bloody, but not mean. The innocent, passionate human interest which marks all his work came through again in this presentation. In Memory of the Past: David Smith (Gagosian): I was again taken by the energy, the expert hand, and the scope of these overwhelming sculptures. Some were enhanced with color and I am aware of the gossip that some of the coloration had been done after his death. The truth has not been established, and besides, who cares? This work not only dominated the gallery space, it made you forget there was anything else there. George McNeil (ACA): This was a selection of paintings from different periods. He was one of the early Abstract Expressionists and his work never lost its most telling quality. It is completely personal and uncensored - revelations of his own life and observations of the changing world. Donald Judd (Pace Wildenstein): This work seems more significant now than it was when I first saw it about 20 years ago. Then, Minimalism was a trend; now it appears as a perfect witness of a time. In reaction to the "spill your guts on the canvas" approach of the late Ab Ex's, Judd was a cool controlled mirror of corporate taste and the foundation of institutional collections. This art could please many and offend none. The technique allowed no deviation from perfection and the voice spoke authoritatively. Myron
Stout (Washburn) was a rebel in typical conventional clothing. Born
in Texas, he settled in Provincetown, Mass, where he quietly produced
small paintings that began in the classic boundaries of geometry and
then were filled with subversion, passion, and sex.
[Part
Four, in the next Newsletter, will discuss exhibitions by artists working
in film media: still photography, both recent and Depression-era, as
well as video art. Also included is a look at art about entertaiment,
and some concluding words on the continuing importance of the tangible
art object. Ed.] Therese Schwartz, an esteemed artist known for her geometrically based panoramic collages, has had numerous solo exhibitions, both domestically and internationally, including: Humphrey Fine Art in New York City; Bucknell University; The Salt Lake City Art Center; Barbara Friedler Gallery and Howard University in Washington, D.C.; Galerie Fabian Walter, Basel, Switzerland; Galeria Casa Negret, Bogota, Colombia; Rutgers University; and at the ARCO International Art Fair in Madrid. Her highly regarded works can be found in museums, corporations, and private art collections, among them: The Brooklyn Museum of Art; The Corcoran Gallery of Art; Syracuse University Art Collection; Herbert F. Johnson Museum; Edwin A. Ulrich Museum; Ciba-Geigy Corporation; Barnet Arden Collection; Phillips Memorial Gallery; Women's Interart Center Museum; Advanced Elastomer Systems; Pepsico Corporation; Monroe Geller Foundation; and the Huntington Museum. An accomplished essayist, Ms. Schwartz has written feature articles in such publications as: Art News, Arts Magazine, Women Artists' News, and Art In America, where she contributed a four-part series entitled "The Politicization of the Avante-Garde," which continues to be widely used as a research tool for art historians.
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