The tide may seem relentless, sweeping hope away. As I wrote previously, my practice in the studio is essentially solitary, and that has isolated the work I have made in response to current events from most everyone else. I know that I am not alone in this regard, and I asked to see your art made after the election. I’d like to thank those who initially shared those responses with me.
As I’ve thought about this and talked about it with other artists it seems more important than ever to process and plan, in short, to organize our response through our work. ‘Our Art After’ the election should not stop at the inauguration. I would like to use this space to announce and promote the work of artists and exhibitions whose work has been affected by and stands in opposition to the elections of 2016. ‘Our Art After’ will also be documented as an online exhibition and archive via Tumblr, as well as offering support to other venues and exhibitions.
I am proud to announce that the first ‘Our Art After’ exhibition will be at the Arts Dojo of Kansas City to open April 28th, coinciding with the end of the new administration’s first 100 days in office.
To submit, please send the following via email to ourartafter [at] gmail.com or directly to the venues:
- 1 – 3 JPEGs of artwork for submission made between November 8th, 2016 and April 1st, 2017. (Please do not send links to websites).
- The artwork information (size, media, etc).
- A short statement of approximately 50 – 100 words about the work and how the election has affected your studio practice. This statement will be used in conjunction with the Tumblr archive, so please be as simple, honest, and direct as possible.
The deadline for Arts Dojo submissions is Midnight, April 2nd.
This open call is open to all media and styles. If you would like to include a video, web-based or new media project, please feel free to do so, although please understand that Arts Dojo and Tumblr may be subject to technical limitations. Complete details on the logistics for the physical exhibitions will be available soon. If you have any questions, please don’t hesitate to ask via the above email.
Following the election one of the strongest calls was for artists to continue to work, to continue to create in the face of results that are heartbreaking at best, and portending catastrophic consequences for our society and planet at worst. To create art, no matter what the style or idiom, is to reach out and try to communicate to another, to seek some common understanding. Demagogues have no use for understanding, for finding common ground; there is always a distinction between the artist and the work of art and then between that artwork and the viewer, and those gaps between art and life must be traversed for any communication to occur. That the viewer must reach out to an artwork makes it a poor choice as a vehicle for propaganda, but well suited as a means to transmit personal expression.
When I walked into my studio after the election I felt that I could not continue with business as usual. As much as my regular practice may have called for adjusting a red to a blue in one of my paintings, my rage, frustration and grief did not allow for that. So instead I took up small, unfinished collages that incorporated napkin fragments printed with the United States flag. Almost flat-footedly obvious at the beginning, as I have finished the first works in the Electioneering series my studio practice has gained some inoculation from current events and found myself able to work again, and as I am working I’m now looking forward towards letting these small works communicate and yell.
I know that I am not alone in this experience. Artists I know have been in the studio working, while also organizing, protesting, and speaking out. Many of us will March following the inauguration, but there will be those of us who cannot, and perhaps we can find a way to make the art we’ve made in the days and weeks after speak for us.
I would like to see the art you have made starting on November 10th and onward. I would like to see an exhibition (or perhaps several) open at the time of the inauguration that puts art and reactions on the walls as we are also putting bodies and ideas into the streets. Consider this an open call for work, for space, for anyone who has tried to process their situation by turning to the process in their studios. Send images or ideas to email@example.com. I do not know what will come of this, but it seems important to reach out.
For something that would seem so simple, so cut and dried, the idea of the monochrome painting has proved incredibly elastic. Supposedly a single color supported on a plane, its basic structure lacks analogy in other artistic mediums. [i] Reducing the object under view to such a supposedly atomic unit separates the time spent looking at a painting as distinct from engaging with other media. A painting can be taken in ‘all at once’ whereas the unspooling of narrative media cannot. Even within the boundaries of abstraction, sculpture’s requirement of a form existing in three-dimensional space pushes the actuality of shape and material to the fore. The time one must take to walk around a sculpture is the same progression to view a dance or film.[ii] Conversely, looking at a painting can be entirely contained between the frontal two-dimensional plane of the painting and the viewer, each mirroring the other. Perhaps this accounts for the totemic aspect of the monochrome, a painting which by virtue of its supposed reduction is traditionally placed at either the beginning[iii] or the end of painting.[iv]
Academic simplicity would place the monochrome at a nexus of geometry and gesture, between minimal reduction and the ecstatic expression of wide fields of color, in theory allowing for a painting that removes all but the barest traces of drawing. But as with totems, the range of implementation and function is as diverse as the people who make them, and their real world existence is far messier than is often intimated.[v] Painters have been exploring and pushing the boundaries of a single plane of color since Malevich opened his “desert of pure feeling.” The point at which one color turns into another is nebulous at best; turning as much on the stuff, the paint, and how it is applied: thick or thin or mixed with what; with what energy and direction, over what ground and with what medium. One of the most obvious stratagems has been making monochromes that include more than a single hue; even Makevich’s first Constructivist icon was a black square on a white ground after all. Painters, perhaps like shamans before them, seem to bristle at imposed restraint. This brings us to Brice Marden’s new exhibition at Matthew Marks Gallery, and his return to the monochrome.
Walking into the central space at 522 22nd Street the viewer is confronted by ‘Summer Square’, a large brown monochrome that stands as a seemingly stark refutation of his paintings of the last two decades.[vi] Turning to the right the multi-panel ‘Small Seasons’ cycles through subtly tuned variations on four basic colors seemingly propped up on underlying washes of paint that form a familiar footer at the bottom edge of the canvas. The show, spreading across two galleries, is intended as a statement, the argument of an exacting artist for the ground he finds himself on.
In a previous exhibition I felt that he was starting to search for a unity and synthesis between his two iconic bodies of work, the monochromes and calligraphic paintings. In works like ‘Second Letter (Zen Spring)’ rectangles of color flanked his more recent curvilinear networks. Those flat sections even had nearly identical proportions to earlier sections in his multi panel paintings, such as ‘Thira.’ However upon further reflection I would now argue that his return to the monochrome has been portended for far longer. Marden is noted for being a very particular and careful painter, with so much as a dangling line seen as a momentous change[vii], so it shouldn’t be such a surprise that the groundwork for this move was laid long ago. His original glyphs turned and twisted with the energy of calligraphy[viii], but eventually their contours regulated and flattened, becoming broader and far less dynamic, but deeper vessels for color. They became ribbons rather than writing, holding one color next to another just as a single panel interacted within a larger assembly of panels in the seventies and eighties. He has been been emptying out everything but color in his paintings for longer than we might recognize; the touchstone references of his work have largely resided in Asian art and calligraphy, so much that when he exhibited a single monochrome[ix], the focus was on its basis in the colors of delicate Ru ware porcelain, and his attempt to recreate it from memory. I do not recall these nine small panels of solid color pointing to a re-engagement with the monochrome, but in retrospect it seems obvious.
The key to Marden’s painting has always been his engagement with the plane, and how he delineated the subtle aspects of its geometry.[x] His early monochromes measured the grid off as a container for color, and the inherent regulation of the surface plane restrain his monochromes from entering the vast, open spaces of color field painting. This has always been the beauty of the early paintings: the material density is pitch perfect, allowing a sense of light to emerge from the weighty reality of paint without pushing into vapor or deep space (the muting of his paint with wax and his colors with gray probably helped). The relation of his body to the individual canvas was how he brought drawing into paintings that are typically seen as removing graphic engagement; early individual canvases regulated his gesture, and later single panels were individual units in a complex whole.[xi] Of course the calligraphic works were also based in drawing, and these new works are also based in drawing; the key to his new monochromes lies in the suite of small ‘African Drawings’, their importance revealed by their inclusion in the main exhibition space. [xii] The modest works on paper are where the paintings structure comes from, down to the proportion of the margin at the bottom.[xiii] Careful looking at the paintings will reveal the trace of an original formation of squiggles and scratches that have been subsumed in later layers of color. He is still charting and dividing the plane by incremental gesture, and using these to build up a wall, rather than a field, that nonetheless glows.[xiv]
Marden’s tentativeness expands the exhibition, perhaps beyond what is necessary. Paintings from the Nevis Stele series show the ribbons emptying out[xv], and ‘Uphill with Center’ serves as a bridge, albeit one that feels contrived. The ground of the center panel is the same pale blue[xvi] as the Nevis Steele paintings, and the ribbons that snake across the surface are the same colors as the monochrome panels that flank it, two on a side. It is as if he felt compelled to show us that this was an organic transition between bodies of work, but the constituent parts don’t work together. The color relations aren’t enough to overcome the graphic contrast between the horizon line created by the bottom margins of the four monochrome panels and the curvilinear tracery; it reads as a juxtaposition made in the studio, not a resolved painting.
The new work doesn’t need any such artificial joinery with the past. If there is anything tyrannical in contemporary art, it is the relentless demand for something new, paradoxically coupled with the expectation that the artist will maintain something close to a brand. Perhaps Marden is conscious of the strictures of his market, or perhaps his overall practice does as much to reveal who he is as do individual paintings. Either way, as an artist approaches their own winter no one should fault them for steps backwards, or those forwards that appear to miss. Marden should still be able to show us a thing or two; the paintings on Marble that he exhibited with the Ru ware monochrome harkened back to the works he made between monochrome and calligraphy, the so-called graph paper series. Underappreciated, these works, mostly on paper, pose a unique engagement with drawing and measuring the plane that would present a fascinating challenge to realize with the same sense of light in his painting. Energy and movement are preferable to a slow decline into hibernation, and there is certainly a precedent among shamans and calligraphers for expelling rather than conserving their final energies. Here’s to hoping that Marden can increase the tempo of his dance.
‘Brice Marden New Paintings and Drawings’ continues at Matthew Marks Gallery in New York through December 24th.
[i] Perhaps the closest relatives come out of experimental film; Warhol’s ‘Empire State Building’ attains a similar aesthetic stance while effectively neutralizing film’s temporal aspect. One could also look at Cage’s 4’33” as a musical equivalent that
[ii] … but perhaps inverted, with the viewer providing the movement rather than the medium supplying it.
[iii] As a blank canvas.
[iv] See ‘Ryman’s Tact’ in ‘Painting as Model’ by Yve-Alain Bois.
[v] When handling totemic or ceremonial objects, what is often surprising is how sticky they can be.
[vi] Although in an age of press releases and teases, it’s not like anyone interested is unaware of the change in his work.
[vii] “(Real Marden-watchers will notice he’s even let a couple of lines dangle in space — a huge move for this ultra-circumspect artist, one that creates local concavities, triggering a sense that the whole surface is undulant.)” – Jerry Saltz.
[viii] It is worth noting that this energy is still contained in his drawings, and the artist allows an abandon in ink that is missing in his large paintings.
[ix] And a much more “pure” monochrome than the works found in the current exhibition, for the colors of each panel
[x] See Klaus Kertess’ essay ‘Plane Image’ in ‘Brice Marden Paintings and Drawings’ (Abrams).
[xi] This is where Marden distinguishes himself from Ellsworth Kelly. Kelly’s colors are typically flat and generic, and define space by their shape or relation in relief. Where Kelly’s shaped canvases project into and engage space, Marden remains committed to the single plane of the rectangle, and creates paintings where the color is embedded in the paint, rather than reflected off of it.
[xii] The main space at 522 West 22nd Street is the central thrust of the show, with drawings that follow from the African series and additional ribbon paintings residing next door at 526. The show focusing on prints at 502 West 22nd is not referenced in the press release, and serves to connect earlier ideas in Marden’s practice to the current show via a different medium.
[xiii] These margins again harken back to his early work, but are so wide as to be almost a caricature of the thin, revelatory strip he gleaned from Johns.
[xiv] That Marden gets such dark colors to glow connects his work to European painting more than Asian art. The nine panels of ‘Eastern Moss’ pose a nice rejoinder to ‘Ru Ware’; the shift between green and brown is subtle, and though not belied by the title, the colors are reminiscent of the deep color of rough, industrial linen, a coarse relative of the material that Marden paints on.
[xv] And the dates of these paintings showing us that it took a while.
[xvi] Or “pale blue” as much as anyone can identify a specific color in any Marden painting. They are not so distant from the colors Marden remembered in the Ru ware painting.
… Or, Attack of the Giant Killer Robots!
As Forever Now has engaged the critical debate around painting through the lens of technology and science fiction, and if our current context or the paintings themselves (see Part 1 and Part 2) don’t support this argument, there may still be a way to map contemporary fictions onto the landscape of painting. Popular criticism of the show has been unable to avoid discussion of the current art market and its influences, and most of what has been written certainly has a dystopian flavor. So if the Postmodern landscape of the art world is a “Desert of the Real” and artists are working inside of this new (or really not so new) reality, then we must also consider that the structures that surround and support that art have also changed, perhaps without us knowing, perhaps irrevocably. The issue at hand in any contested environment is not only what can be done to right the mistakes that brought us to this place, but what unintended consequences we might visit on the future.
Painting functions as a barometer in the nexus of art and market. Painting’s deaths have coincided with economic downturns, and when things pick back up there is usually a resurgence of interest in colored mud hung on the wall. However these shifts are more a matter of narrative for critics and historians; it is safe to say that the best artists continue to make the work they want regardless of fashion, even pushing at boundaries further when they are out of the spotlight. The continuing upward trend in the market, whether bull run or bubble, is unnerving, and leading to art being assessed differently. Aesthetics and criticism are intertwined with economics and influence in a way that if not really any different than in past generations, is more apparent in our networked era of information wanting to be free. If Forever Now exemplifies our current condition, it is in the implication that the transition to Postmodernism has finally caught up with not only what art is being made, but how it is being talked about, exhibited and sold. As artists and dealers are being forced to adjust to a Postmodern art market, critics and historians are functioning more and more as market analysts, intertwining aesthetics and economics, and perhaps privileging the concerns of the latter more than they should. As the narrative threads are tied together, there is a real danger that art may eventually lose the individual spark that makes it more than mere commodity.
The painting being labeled as zombie formalism makes the workings of the market easy to criticize, but the lesson to be learned is that what will come next isn’t going to be a return to what we used to have. Writing in the Brooklyn Rail about the less heralded Whitney Museum exhibition Remote Viewing a decade ago, Stephen Maine derided the trend of “vernacular abstraction” as
“…the order of the day, with formalists scarce among younger painters … In part, this is a response to pressures of an expanding market, wherein collectors with deep pockets but little taste for art history, impatient with the linguistic indifference of high abstraction, are provided some anecdotal avenues of approach to the work.”
It is troubling for the discourse of art that who buys the work, for whatever reason (real or imagined) affects the criticism of it. Certainly great works have had ignominious beginnings, and while charges of philistinism are routinely leveled at new money forcing its way into any rarefied market, such criticism can be just as much about reinforcing a status quo of back channel exclusivity and power as lamenting the passing of connoisseurship.
The work in Remote Viewing exhibited a strong trend towards the idiosyncratic and handmade; towards uneven surfaces that did not compromise their facture for easy decoration and did not skimp on authorial labor. These qualities are not really less evident in Forever Now but they have become far less emphasized as personal expression through the manipulation of materials has come to be seen as historical redundant; if any mark that can be made has already been made, how can it be a vehicle for unique personal expression? Over the last decade painting has absorbed the values of a market that embraced artists like Jeff Koons, whose legacy and practice espouses commodification and production above all else. In “Zombie Formalism” this legacy has trickled down to young artists who emulate the slick look and easy production from the top of a flush market. There are consequences to removing the artist’s hand and head from making art. Previously every artist that turned the studio into a production line first had to figure out how to make the thing themselves; the vacuousness of the worst contemporary painting is the result of short cuts and shoddy effort, of time not spent on the work.
Likewise there are consequences to the shift to an economic Postmodernism. The rise of “art” within Western European society as something for the individual was tied to the rise of the middle class. The art of the academy mirrored the ossification of a society that eventually birthed not only Marxism, but also Modernism; avante garde art ceased to be made for the middle (i.e. merchant) class as evidenced by the title “bourgeois” descending into deprecating slur. Modernism also saw popular culture embrace different media than high art, furthering the divide. With the shift to Postmodernism all but complete, we are faced with the demise of the middle class’s relevance to art portending the demise of the middle class itself. As more wealth accumulates to the top 1% and the middle class shrinks, collecting art has come to be seen as a game for oligarchs and the super-rich. This perception is reinforced every time the art press puts sales figures ahead of aesthetic content, and it ultimately only serves those wielding money in the art market like a weapon.
There has been money and influence behind the form and content of art from the beginning, but the opinion of artists, critics and connoisseurs carries less and less weight. We’re nearly 30 years removed from Robert Hughes’ essay Requiem for a Featherweight. His critique of Basquait included coupling the Whitney Museum’s interest with the economic drive for a retrospective, but instead of destroying Basquait’s reputation, in the intervening years all we’ve seen is his continued canonization and an increase in his resale prices. Setting aside the validity of Hughes’ critique, it is evident that economic interests trump the critic as lone curmudgeon. Instead of tilting at windmills of artistic reputation propped up as an asset class, we would do better to provide an alternate narrative of art grounded in what we are for, not against. We do not all have to agree (indeed, we should expect to vehemently disagree at times), but we do have to make a story for contemporary art that allows the thinking and making of the work, not its price, to be paramount.
 Which I’ve been teasing here in the notes since Part 1; that’s why you read the notes, people.
 We’ve all read enough pithy references about the Medici and their influence on the art of the residence, so let’s just pretend I put one here.
 It’s a label that seems very dependent on current popular culture and its fixation on Zombies (for example, with the Walking Dead). If this work had come to prominence even 5 years ago when vampires and the Twilight movies were all the rage, I’m sure we would’ve been hearing about “vampire formalism” and paintings that looked good (and even sparkled) on the wall, but were devoid of any reflection of substance or deeper content, and were ultimately sucking the life out of painting.
 It’s interesting to note that the only artist in both shows, Julie Mehertu, has gone against the grain in both shows; showing more highly polished and produced works in Remote Viewing, and more gestural and seemingly transitional works in Forever Now.
 This only applies to western art out of the Renaissance tradition; Eastern art has followed a slightly different path, although artists were still dependent on an infrastructure provided by the ruling elite. Perhaps an analogy can be drawn comparing working within the free market to academia?
 One of the more interesting implications in Postmodernism is so called “high” art circling back and incorporating these media (photography, film and video, digital and internet practice) into contemporary discourse.
 Everybody wave to the Medici!
 Originally published in the New Criterion, 1988 and collected in Nothing If Not Critical.
 See Dave Hickey as a current example.
As part 1 of this essay considered the metaphorical space of the desert as a model for the new condition of painting within Postmodernism, the physical space of Forever Now is equally revealing. The exhibition is on the top floor, sitting in stark contrast to Matisse’s cut outs. Compared to the lyrical journey on a pleasantly winding path that circumnavigates one of the high-water marks of modernism and pure pleasure in color and form, how is an exhibition mucking around in the creation of the grimy present supposed to stand up? The show feels as if it is being hyped to raise its profile as much as possible just on the way to the 4th floor. A large painting hangs over the main lobby like a billboard and several monumentally framed pieces are propped against the wall on either side of the entrance, like outsized carnival barker’s signs. Once inside the large space is divided into a series of branching chambers with partitions encouraging meandering and no strict path, but also no exit except back the way one came. Dead-ending against the back wall forces the viewer to rebound and wind one’s way back through the show and make new connections and consider different relations and viewpoints. The exhibition layout cancels any hierarchy and allows for slipping glimpses of how some model of the whole might lock together. Looking at the show is an exercise in exploration, of navigating terrain that is not set.
Other than being painting made recently, the work has no common denominator, outside of perhaps generalities of abstraction or a certain sense of scale, although many of the works have bits of the real world peeking through. The artists share no agenda or style; they are simply trying to make paintings that reflect how they interact with and process their world. That their work shows its influences and continues a dialog with art of the past does not necessarily point to any “atemporal” influence of the net, beyond its reality as a condition of our shared world. All of the artists have started making their mature work, if not lived their entire lives since the advent of Postmodernism; the interaction between the history of images and present production is ingrained in how they approach the canvas.
Amy Sillman’s abstractions provide the clearest model of how painting can make something new when the language of invention is played out, and in the process they show just how obsolete the idea of “newness” is. They are often (and incorrectly) labeled as a grab-bag mix of styles, a criticism that latches on to surface similarity rather than looking at just what Sillman creates for herself. She has found her voice in the direct handling of paint, getting colors that don’t easily go together to mix with gesture, shape and space to form a hard won picture that just barely keeps their different compositional elements in balance. They teeter on the edge of falling off the ledge, but the constant revisions within the picture are what give them their subtle vibrational energy and move the eye through the painting. The more complicated she gets the better; her simpler paintings flatten out as though with too few pictorial balls in the air there is not enough to sustain interest, either hers or the viewer’s. While there are no intimations of the figure here, it has often made appearances in her work; when it does it is more complicated in its relation to abstract elements in the picture than Guston while remaining much more autonomous than in deKooning. Just because she is working with a subject others have used, she is not beholden to them and her practice allows her raise content in subtler ways than her supposed sources.
Nicole Eisenman’s large portrait heads combined confrontational scale with unassuming demeanor. They confront Picasso with a sly rejoinder born of a contemporary eye. Her large frontal slabs of color are as precisely keyed as Sillman’s, and the paint surface is as worked and rewarding of close inspection. In several of the paintings she has pasted ethnographic clippings onto the surface. Their shapes echo those built in paint, put they flicker irritatingly, causing a difficult shift in resolutions of scale as the dull grisaille of newsprint or Xerox tries to hide against oil paint, but sit on the surface pushing the space in the painting back. They continue to grate, itching the brain; the fact that I want them removed is probably why they’re there. It is also an example of just how aware a critic must be of one’s own biases. One of my favorite paintings by Eisenman, The Break up, has a similar format, but lacks additional collage. I found myself longing for its unadulterated surface, and spent time going back to see if I could get the artist’s intent rather than trying to make them fit into my own preconceptions. Her Easter Island portraits make for a dynamic conversation with Mark Grohtjahn’s mask paintings, which explode out with color and minute gesture – the mass is the same as Eisenman’s, but built as a mosaic rather than a slab; we get to see to very different artists approaching a similar idea in very different ways. In Grohtjahn any sense of a source portrait is obliterated in a flurry of paint. His works are not without their own material quirks. Impasto paint curls around stretched linen, but the paint is actually on cardboard. If you look carefully you can detect the slight deflection of the surface plane away from the wall in one of the panels.
These sorts of material inconsistencies and deviations from “pure” painting run throughput the work in the show. Greenberg’s purity of medium was being discarded almost as quickly as it was becoming established dogma, and what a painting is made out of is considered only when it is blatantly foregrounded by the work, and then if it is so obvious the work usually falls flat. Rashid Johnson’s scratches in soap and wax fail for inserting a Twombly-esque distraction where none is needed; if the resonance of the materials and their importance to the artist’s cultural and ethnic experience is the central point then shouldn’t the simple act of just matter-of-factly putting them on the surface be enough? Trying to make it look like art seems more self-conscious and is ultimately unconvincing. On the opposite end of a similar spectrum Richard Aldrich’s wispy gestures are interesting as sketches writ large, an idea proposed quickly in the studio, but they do not read as full blown statements – it is here that we start to encounter the slippery slope of just how much work really is needed to make a painting. It seems as if the critical eye may slide over some paintings that seem to easily made, too strategized into being. By contrast Dianna Molzan breaks apart the components of a painting to make charming and inventive objects that inject personal idiosyncrasy into the cool ontology of the painting as object. Every aspect of her wry objects is carefully considered, and this investment results in a warmth and humor in a small scale object that stands up to an empire of large canvases.
Twombly’s influence runs deep through the exhibition, like a common genetic marker. His off-handed and scrawling gesture is a common antecedent to Provisionalism and other strains of the abject in contemporary painting. Critics have not laid the blame at his doorstep, but he is the precursor for the aesthetic developments that are the most troubling to the old guard. He heralds the obsolescence of virtuosity, the divorce of the monumental work matched to a grand statement. To put it another way, when Richard Serra called Twombly the bravest person in modern art for taking on Pollock with only a pencil, the other side of this is that it was possible not only to take on Pollock with only a pencil, but to win. In winning he shifted the stakes and scope away from the tortures of labor and towards the academics of abstraction. He removed doubt from the process of making a painting that was an anathema to Guston and deKooning. It’s instructive to compare his Treatise on the Veil to Forever Now and see just how much contemporary painting falls under his influence. There are other such giants that loom over painting (Polke comes to mind) but Forever Now’s focus on abstraction is what foregrounds Twombly.
Perhaps the most surprising comparison to Twombly is Julie Mehertu, who has covered her trademark precise pen line with flicks of brushed ink. It’s as if turbulent weather and atmosphere has descended to surround her previous architectural subjects. In the larger painting on view it is possible to discern her more standard pictorial language in earlier layers, giving these works the feeling that they were unsatisfactory works that were treated as salvage experiments. They also seem to come out of the small scale (and definitely less-produced) paintings in her recent solo show at Mariam Goodman, but whether they represent a new direction or merely a tangent in her practice, they stand out for how they relate to the exhibition’s curatorial conceit. Mehertu’s iconic works are steeped in the relationships of systems and the transfer of information across global networks; there is a robust thread connecting them to the digital references the concept of the atemporal suggests (and William Gibson’s writings practically demand), but Hoptman’s focus is on the recycling and reclamation of images and references rather than the mechanisms and infrastructure of that transfer. As such whatever formal turns Mehertu takes, the comparison of the exhibition is limited to surface similarities of the aesthetic qualities of the objects themselves and not to exploring the deeper implications of the interactions.
Collector’s darling and critical whipping boy Oscar Murillo is presenting his paintings for the first time in New York. Given the arc and design of his career it would seem to raise expectations perhaps beyond what the paintings can support. Murillo seems aware of the possible bind, and his interest in moving his art past just being pretty pictures on the wall is on view in a pile of unstretched canvases left lying in the corner to be dragged around and rearranged by the show’s visitors. The gesture speaks to a common desire by painters, especially those working abstractly, to be taken seriously and express something beyond mere decoration. Murrilo’s answer is to allow the viewer to interact with his works as he does before they are finally stretched. There is a frission to be found in touching and moving works in a museum, however the artist’s studio is not necessarily an ideal arena for viewing art, and importing its processes into a museum trivializes his choices rather than lending them gravitas. Instead of revealing thought and process they become just an opportunity for the audience to take selfies. The gesture also feels arbitrary, as his stretched paintings on the walls are not out of place with the rest of the exhibition. The bruised surfaces and casually gestural compositions belie an elegant colorist with a keen sense for collage and editing together fragments to form a cohesive whole; his integration of the separate parts and seams are much more integrated into his overall process and the resulting paintings than Albert Oehlen’s recent exhibition with a similar focus. The youngest artist in the show, he is emblematic of the potential problems of a new, metastasized art market that limits judgment to such a narrow career arc, without allowances for growth or change.
Forever Now is MoMA’s first exhibition of painting in 30 years, but beyond the imprimatur it is neither encyclopedic or revolutionary; instead it continues a line of exploration that maps trends and similarities in Postmodern painting. High Times, Hard Times: New York Painting 1967 – 1975 at the Whitney Museum explored how painting turned towards objecthood in the wake of Minimalism and the advent of Postmodernism. Cheim and Read presented Reinventing Abstraction, a less known history of the 70’s and 80’s as a source of continuing rehabilitation of abstraction in painting during a period when Neo-expressionism crested into a second wave of conceptual art; it showed painting that was being made in studios the last time MoMA put on a painting show, and illustrated just how much influence can shift and change. In the vein of the shifting landscape of criticism and fashion, one should also consider the Whitney’s Remote Veiwing (Invented Worlds in Recent Painting and Drawing), which explored contemporary painting’s relation to dense and personal networks of information. An exhibition a decade past, its links and history organize a thesis that is not dissimilar to that of Forever Now, but with a drastically different focus. The network of Remote Viewing leads to practices of labor-intensive detail, to an exhaustive search for a framework that will mesh with a personal vision. Forever Now references the contemporary Internet, where the birth and appropriation of images are midwifed by brand identities and the ease of cutting and pasting over a wi-fi connection. That so much of Forever Now seems to fall flat may point to this ease of execution; as labor is devalued across the economy, the less demand there is for works of art that grate with a material density that cannot be easily replicated by a JPEG or digital scan, but the most successful works on view maintain their material reality as paintings. This remains true throughout the medium’s history, no matter the whims of the bazaar.
The essay concludes in Part 3.
 Conveniently coinciding with the exhibition title, entrance to the show is not timed.
 Which is not dissimilar from the large gallery spaces where most of this work is exhibited.
 A strategy well known in the design retail stores.
 Most of the works lock in at a large, but not overwhelming scale.
 Who could only get close to head-like lumps when working abstractly.
 Who made the abstraction of the figure the entire subject, the figure was the space of the painting, never really in it.
 Johnson’s inclusion is curious as he is primarily known for much stronger sculptural work, and the “paintings” included are a minor strain in his practice. These works fit with the exhibition in a way that one of his mirrored shelving reliefs do not, but that speaks more to his being included as a broader marker representing his practice; this in turn points to a possible agenda not encoded in the works themselves.
 I’m reminded of deKooning stepping back and wondering if his start could contain a picture, and it seems like for Aldrich the answer is not only “Yes” but also “…and it’s done.”
 Just examine the care and detail in the construction of her stretchers. The more common commercial stretcher builds would interrupt the delicate geometries she creates.
 And they are objects as opposed to pictures; their depth and the relation of the inside to the outside are inherent to them in a way that separates them from “Painting” proper.
 Much like Richard Tuttle in sculpture.
 Think of the references to graphitti that abound around his work and consider the confidence of his marks as someone stepping up to a wall with limited time and no room for doubt.
 I do not think it was necessarily a good idea to hang Mehertu’s paintings adjacent to Rashid Johnson’s works. The superficial similarities, albeit played out in contradictory materials (ink separated by isolating layers of acrylic vs. the earthy weight of soap and wax) are a facile comparison. It would have been just as obvious to hang Jacob Kassay’s silver mirrors across from Johnson, if he had been included.
 Then again, maybe not. One can also look at the recent trend of museum-quality shows in commercial (mega)galleries and then think that maybe David Zwirner has a much cannier strategy mapped out (remember the giant killer robots mentioned in the notes of Part 1? They’re coming in Part 3).
 It may be a litmus test for how you feel about the show and contemporary painting in general if you consider that to be a good thing or bad thing.
 It is startling to read contemporary criticism of the show and to see the nascent fragmentation of painting as a medium and similar concerns that are the same after so much time. Perhaps there is an origin for Provisionalism in Vernacular abstraction, or at least a historical precedent.
 There is always room for curatorial kvetching: I would’ve cut Bradley and Josh Smith and replaced them with R.H. Quaytman and Joanne Greenbaum.
Painting has had it rough lately, it’s as if constantly dying and being reborn has really taken something out of the medium. For better or worse it has been yoked to the very definition and expectations of what art is, and painters have become accountable not only on formal but also economic grounds. Hatred of “Provisionalism” has given way to similar reactions about “Zombie Formalism” where a good deal of the criticism hinges not on the work but on how it is being made and just who is buying it. The new crisis of criticism in contemporary painting hinges on just how slippery the medium is and how its relations to the constantly shifting ground of the art worlds have been exposed.
Forever Now, MoMA’s first new painting survey in 30 years, gives critics a good deal to try and grab on to. From the beginning the show stakes a claim on the key feature of our time being an internet derived “atemporality”, with information easily accessible with a few clicks leading to a deluge of historical reference that can effectively remove art from historical place. However, the hip nod to William Gibson and the technological present disguises the broader import of the show; in mapping out a space for painting where the entire wealth of history and aesthetic investigation is open (and constantly re-opened) to use curator Laura Hoptman has marked our present circumstances as unequivocally Postmodern. A better pop cultural reference would be Morpheus stepping back to reveal the desert of the real to Neo at the beginning of “The Matrix.” Coming from the gleaming skyscrapers and clear blue skies of high modernism, the scorched earth and sky of the truth of reality is a foreboding sight. It would seem a landscape of exhausted strategies and unintended consequences where survival will take more work than before, but it also allows for broader interactions and a greater degree of possibility.
For artists this desert is terrain where the hierarchies of how to make art and what to make it out of don’t apply. Freed from the need to worry about pushing forward or heralding an agenda, the artist may make what they want out of whatever material will mesh with their formal, conceptual, political, or aesthetic ends. Simply making something “new” is too transient a glory and no longer laudable; the novelty of invention wears off too quickly and everyone’s sources are easily discovered. This end of progress is also the end of avant garde; one can’t be at the forefront of a movement if there is no front, or if looking backward in reflection can’t be labeled as merely retrograde. This is ultimately disorienting for all involved as the criticism of any given work requires a careful approach on its own terms. The old signposts aren’t necessarily relevant, and the headstrong critic will find themselves revealing more about their own bias than the work’s. Likewise the artist must be acutely aware of what s/he stands for, and how they relate to the shifting context that surrounds their work lest they loose control of it. The lack of supposed progress raises the stakes because responsibility falls on the individual, it can’t be easily deflected to a group or movement. This is the cost of the freedom wished for by artists in bygone eras.
Once we accept that atemporatlity is synonymous with Postmodernism it can bee seen as a crutch to lay responsibility at the feet of the internet. Digital technologies have rapidly increased the flow of information, but Postmodernism predates widespread integration of digital networks into the fabric of our culture. The first Postmodernists were analog artists, researching in libraries and archives, and collating physical objects, artifacts, and documents into their work. The inherent speed of all art was the same, but if painting has been slow to accept and accelerate into the new terrain of Postmodernism it is because it is a medium of material and individual gesture it does not lend itself to quick dissemination. Painters are figuring out how to integrate the history of their medium into a continuum that more recent, easily digitized media were born into; but as those media aspire to the status and economic benefits enjoyed by painting more possibilities are opened as the boundaries blur. Postmodern painters are finding their way; the work on view in Forever Now, or any other show of painting being made today, should not be seen as an example of living in the wreckage, but the slow start of a new beginning, of building a new frontier.
 Or “crapstraction” if you’re being kind of rude about it while simultaneously trying to come up with something punchy. This isn’t a label that one would apply if you were also to admit to liking some examples of the work under discussion.
 I subscribe to a “many worlds” view of the art world as a way to simplify our understanding of something that is otherwise too complex to entertain. In short individual interactions overlap with geography and economies so that upon a microscopic view the connections and networks form webs that are too dense to separate, but upon pulling back to an extreme macro view the interactions separate into clusters of mass. How these clusters relate to influence and wealth, and just how shared they are is probably what is leading to a certain amount of critical disgust with painting overall.
 Quoted from the wall text at the beginning of the exhibition.
 The reference to William Gibson seems more like trendy name dropping than anything else
 With that use swinging between stewardship and strip-mining.
 A wide-eyed and well groomed protagonist fresh out of art school with his MFA if ever there was one.
 You just have to look out for the giant killer robots, which we’ll discuss in part three.
 And presumably continuing the modernist drive towards some sort of purity.
 If not advertised as loudly as possible.
 In technical parlance, these circumstances aren’t a bug, they’re a feature.
 Taking the red pill as it were.
 I take my historical cues from Danto, and put the emergence of Postmodernism with Warhol’s Brillo boxes.
 An image of the painting can be shared easily enough, but it is different from an actual painting; the materials must still be reckoned with in a way that is not required to simply print a digital file.
 The specter of the monetary advantage that rides on the definition remains sobering; the economic implications of tearing down boundary walls and opening up art’s discourse is the ground that will pit the upper reaches of the art market against it’s broader population.
I don’t know anyone who pays attention to the art world who is not dismayed with its increasing stratification, with concentration of wealth and influence in the hands of a tiny few. It’s a turn of events that has seen Art increasingly treated like an investment asset, just another high-end luxury good or status symbol. Edward Winkleman posted an essay on his blog that puts the onus on artists to take the lead in saving art and John Powers answered from an artist’s point of view, countering that instead artists need better data to make the proper decisions. While everyone involved has been motivated by wanting art to thrive and not see it’s aesthetic and social value choked off by the market, suggestions as to real solutions are more difficult to come by.
My feeling is that the art world, and more specifically the art market, essentially reflects the capitalist economy we are all enmeshed in. Yet art is set at an acute angle to the culture as a whole; as an object produced according to a singular vision its reflection is distorted for the extremity of that position compared to other cultural products. It is held to a higher standard not only for its legacy within culture, but for offering greater hope for change by providing an undiluted voice, and it is immeasurably darkened if it instead saccharinely manipulates those expectations. We might know that these expectations are messily built on fictions, but they don’t make any of us love art any less. What art allows us to express is something that no one who loves it wants to see transformed into another dumb commodity, but that also doesn’t mean we can excise art from the rest of the global economy and set it aside in its own crystal lined utopia. The problems ascribed to the art market are at their core problems of a certain trends of capital metastizing around art: increased prices leading to increased and watered down production, top galleries conglomerating and poaching talent to enclose the market in a near monopoly, speculators flipping art works at a high profit and to the detriment of artists’ careers, focused elitism alienating art from mainstream society; all easily map onto other markets, other bubbles. Any discussion of change must somehow account for this reality.
Powers likened this position to “cosmic background radiation” and I must say that I agree; the cosmic background radiation permeates the universe in a way that the current incarnation of capitalism has spread throughout most aspects of the global economy. If you look deep enough it is always there. Likewise, art can be separated from other markets only to a superficial degree: real-estate, fuel, and other commodities represent real costs to anyone operating a business. So if dealers must follow the laws of the jungle in order to maintain their business, why is the calculus any different for artists? They are running a small business, and if they are to make their practice sustainable (if not sustaining) then falling on their economic sword in the name of art is not necessarily attractive. This is where Power’s comparison of artists to the young drug dealers chronicled in Freakanomics is the most apt. As the lowest rung in the art world’s economic ladder, artists economic power is diffused over the broadest population, and if there’s always another dealer willing to pander in the name of a dollar there are ten artists dying to have their work shown, eager just to get the work out of the studio and maybe start to recoup the cost of an expensive studio rent and maybe start to pay off student loans. If an entry-level drug dealer’s best option is to quit, not play the game, and go work in fast food, where does that leave artists?Altering the market for drugs in Chicago required a host of changes, many coming from the top down and involving interventions and incentives unavailable to most artists. Art dealers have a more concentrated economic stake, and are better poised to recoup the benefits of a change to the system. Dealers of course operate at different levels, and I suspect that everyone at the market’s pinnacle is quite happy with the situation as it stands. That leaves change to emerge from the bottom up, and out of the middle. It’s all well and good to ask artists to lead, but actual change will require the organization of the entire community; not just artists, but also dealers, critics, and collectors.
The art world has evolved to an imperfect symbiosis with its own market, and perhaps the most relevant question is if it is even possible for it to survive independently? The influx of money is at the root of the symptoms; it has pushed the tiny world of contemporary art out of its confines where everyone knew everyone else and is driving the current “grow or go” phenomena that magnifies the distortion of the largest galleries and secondary market. But this growth has also allowed space (admittedly often small) for other voices to become viable and alternative narratives to gain purchase. When Winkleman notes that dealers in the middle are exhausted and finding it hard to climb above a certain level the thing that stands out to me is just how much climbing is built into the system for everyone. As our culture and politics turn more nakedly Darwinian, and the art world with it, I don’t want to see the realities of the market acknowledged because I agree with someone like Stefan Simchowitz, but because suffering its collapse would drastically reduce the diversity of voices. A certain amount of churn is desirable to avoid stasis and ossification; the pressure to “keep climbing” helps birth new ideas, or rediscover old ones, but also raises the distinct possibility that change may not take a form that we envision.
I think that absent a profound shock to the system it is more likely that the art market continues to progress along its current path with the general economy rather than retreats to a form from the recent past that is more comfortable. However this is not to say that those of us who love art should not be engaged in arguing for art to move according to our vision (unified or not), but we must know what we are asking for. To make work that is less “flippable”, less of a commodity, flies in the face of art’s recent history, where anything can be sold. It is no different a request to ask artists to somehow reject the market as it is for a dealer to ask for something smaller that also happens to be a pretty color. Either option comes at a cost to the artist and their work, and the consequences of such decisions should be properly weighed.
If we accept that everyone is climbing I would argue that artists are already leading. Granted, I think most artists move instinctively towards gallery representation and the popular notion of a career, but where that path has not been open they can still be found working to expand their voice in other ways; engaging in the debate waged with things by also curating, writing, and creating their own exhibition spaces. Whether these projects become a core component of their practice or something to be left aside as they gain traction in the art world, they remain as the base of the art world that is committed to art for its unique value of expression and as a form of knowledge, not as an expensive bauble. Perhaps it’s time for gallerists, critics, and curators who want things to change to dig in their heels and start working with artists with whom they share this commitment.
For the purposes of this essay I am leaving out any specific aesthetic debate; changing the economic structure of the art market is a separate issue from arguing how to be sure that ‘good’ work is what is being supported. We all like different art, but are working within the same economic system. Arguing about aesthetics is a second front, and we all know how multi-front wars tend to go.
 And I realize that I may need to use that term loosely in describing art.
 Again, looking at the more popular consideration of how art is made rather than how insiders might know it to be made.
I’m thinking here of cultural productions with dedicated industries like film and TV that necessarily are collaborations from inception. Art (and art by “art stars”) has tended towards this style of production and is one of symptoms under discussion, but what makes “art” truly the art of our time is that it can still be produced from start to finish by a single person in a single room.
 References to it as “late stage” capitalism seem more like wish-castings on the part of certain critics more than anything else.
 …or someone else’s vision of what that means.
 Although, honestly, just getting the work out of the studio and seen is really motivation enough for most of us.
 In the form of both government funded programs and education, and the more direct intervention of law enforcement.
 Although the PSAs would certainly be entertaining:
“This is your art.”
“This is your art, over-produced and made by someone else hanging in a Gagosian gallery somewhere.”
Starting roughly when America became (or declared itself) the center of contemporary art in the 1950’s. You can chart other milestones like the Scull auction or the rise of Soho and then Chelsea, or the explosion of art fairs down the long winding road to our current hell.
 Surely the analogy to certain giant reptiles of the Cretaceous period has been made by someone by now.
Mass-extinction events tend to do that.
It is worth remembering that for all of the horror that greeted the return of painting and its market in the early Eighties, history has largely corrected itself.
Gallerists have probably noticed these efforts in their in-boxes.
Some of my favorite programs in New York are in artist run spaces: Auxilary Projects, Centotto, Minus Space, Pierogi, and Regina Rex have all been started by artists; the number would multiply exponentially once one starts to consider other spaces, and in as much as artists are always concerned with space, forming their own exhibits in their own spaces has an august history.