You know, I can barely choke back my outrage at paying fifteen bucks to watch a big-budget flick where I know I can turn off my brain for two hours and just let the idiocy carry me away. $24 to go see a bunch of twisted and burnt wreckage commemorating one of this city's most difficult days seems like a tough sell.
There's not a lot more to say, really? Well, let's start with the good things.
• The attention and pride of place given this year to performance is totally right on, long overdue, etc. And having a strong performance component—Sarah Michelson is exactly the kind of artist who deserves this attention and format—makes it work.
• Having real experts in charge of the film and video component is really worthwhile. That Ed Halter, probably the City's most-informed film-lover, co-headed the moving image program is a terrific thing.
• The installation is nice! Having fewer artists, and not over-including those artists, makes the show very pretty and navigable.
And then [...]
At MoMA, the amount of revenue from admissions (almost $25 million a year, and these are all 2010 fiscal year numbers) is quite nearly equal to the amount approved by the board for yearly spending from their investments. (The museum overall has investments valued at $642 million. You know: 2/3rds of a billion dollars.)
As well, that number is also almost exactly equal to the amount of money the museum spends on curatorial services alone—not even including exhibition costs.
Museums in this way are like newspapers (and maybe colleges as well): the subscribers to a newspaper pay for some of what they "see"—the words and pictures—but don't even [...]
“Leave it as at is,” Theodore Roosevelt once said about the wonders of the Precambrian: “The ages have been at work on it, and man can only mar it.”
What a scandal that the institution co-founded by his father—and with Teddy Roosevelt's own outlandish equestrian statue out front, flanked by Red Indians—would prove the great man so pitifully right about history. (And in 2011, no less: the centennial of his legendary Bull Moose break from the Republican Party.)
The World’s Largest Dinosaurs—which opened at the American Museum of Natural History on April 16th and plays (if that can be the word for this inert, child-sneering exhibit) through the year—purports to [...]
In order to really remember anything about an exhibition as big as â€˜Greater New York', you have to forget a lot of it. Though this third iteration of PS1's quinquennial survey is smaller than ever before, it still features 68 up-and-coming New Yorkers spread over four floors. To write a review of all that, you have to forget even more. Attention spans can't accommodate that many artists nor that much art, and neither can word counts or column inches or casual readers.
"I feel that what I've been doing at Deitch Projects is in a way running my own private institute of contemporary art. I've just been using the market system to support it rather than contributions to support it." -Jeffrey Deitch explaining why his gallery is just like the museum he's going to be running.
A number of museums-including MoMA, Harvard and the Hirshhorn-are currently selling art from their collections. Expect more! Because of the whattaya-call-it. The recession thing. As a bonus, this is where art people get crazy.