Politics, art, and a general disappointment with how things are going.
Defining Contemporary Kitsch: Part 2 of The New York Art Fairs
What does contemporary kitsch look like? In this episode, Paddy and William use a discussion of the art fairs and New York gallery scene to lead a defining of the term. From its generic definition of objects described to be in poor taste because of excessive garishness or sentimentality, to the current nostalgia driving a tasted for recycled art movements, all kitsch lacks in originality.
Listen in for the whole conversation.
Kenny Schachter at Allouche Benias Gallery
Renate Druks at The Ranch,
Olivia Reavey at Helena Anrather
1-54 CONTEMPORARY AFRICAN ART FAIR
Sanaa Gateja at 50 Golborne
WonderBuhle at BKhz Gallery
Judith Linhares at PPOW
JTT Gallery Anna-Sophie Berger and Sam McKinniss
Sky Hopinka at Broadway Gallery
Paul Mpagi Sepuya at Bortalami
Nora Turato at 52 Walker Gallery
The Downward Spiral: 59th Venice Biennial by Dean Kissick
What The New York Art Fairs Tell Us About Art
Art media does a great job at looking forward to art events, yet rarely looks back to reflect on what these happenings say about the cultural moment. In this episode of Explain Me, co-hosts Paddy Johnson and William Powhida do a deep dive into the fairs to discuss the deeply conservative sales landscape we've been sinking into over the past ten years.
Carlos Jacanamijoy’s 2020 ab ex painting “Carminos de Luz” at Harper’s
Laurie Reid’s “Ballast” at Et Al. Gallery
The Baboon Chair by Margaux Valengin at Pact
Paul Gabrelli’s “Everyday Objects” at New Discretions
Elliot Reed at Anonymous Gallery
Dan Colen at Gagosian
Al Freeman at 56 Henry
Tessa Lynch’s text-based compositions at Patricia Fleming Gallery
Scott Lyal at Migeul Abbreu Gallery
Casja von Zeipel’s Celesbian Terrain
Kevin McCoy’s corporate-sponsored display of Quantum and some generative artworks by Jennifer and Kevin McCoy.
Pedro Reyes, Alex da Corte, Nayland Blake, Alex Katz, Matthew Wong,
Whitney Biennial Report: Care and Caution
We're baaaaack! After a four month break William and Paddy return with some big news about the podcast and an in depth conversation on The Whitney Biennial. We do the full dive here: What are the themes? How is it organized? Is it worth seeing? Is it too cautious? Who are the notable omissions? Why do these omissions matter?
Alex Da Corte
Trinh T. Minh-ha
Daniel Joseph Martinez
Pao Houa Her
Flux Factory Buys Building, Retains Soul
How many times have we seen artist-centered communities lose their grass roots identity when they buy property? High profile organizations that have shed their founders vision as they gained visibility such as the New Museum and Meow Wolf serve as cautionary tales. The quality of the work they produce suffers and their poor treatment of employees makes headlines. That's to say nothing of personality-less art complexes like The Shed, which cement the wealth of their funders while meagerly contributing to the city's cultural life.
But these types of cultural outcomes are a choice and not an inevitable destiny, a reality made clear in this episode's interview with Flux Factory's Nat Roe. In his role as residency Executive Director, Roe recently secured $5 million from the city to purchase the building the organization has been working out of since 2009. Additionally, the organization will now operate a new satellite location, Flux IV, a the 3000 square foot ground floor gallery space on the ground floor of Gotham Point’s South Tower building. At no point in our discussion did we talk about significant changes that needed to be made to Flux's DNA to make this acquisition happen. Rather we talked about the importance of sound proofing their building so they don't disturb the neighbors.
In the midst of LIC, a homogenized tech-enclave for Manhattan commuters, this grass roots artist organization and residency program will now serve as a permanent beacon of creative energy for the community.
Can the DCLA support other smaller arts organizations in New York by helping them purchase real estate? Nat Roe gives us the skinny, going full wonk on city policy, while offering a history of Flux Factory and its place in the New York City arts landscape.
Help Launch Flux Factory's new venue, Flux IV
The Western Queens Community Land Trust—artist Jenny Dubnau is a co-chair of the board.
NY Times Tribeca Art Galleries, June
NY Times Tribeca Art Galleries, October article
How many times have we seen artist-centered arts organizations lose their NYC Club Scene debt? New York Times
Secret Project Robot
NYC Commercial Rent Law
What Does a Return to the Art World Mean?
In this episode artist Chloe Bass’s tweet pointing to the hypocrisy of the art world leads to a discussion of labor, the New York art fairs, and unions.
Max Lankin’s observations for ArtForum on the Armory Fair about how the new digs at the Javits Center improve upon the Piers, which were literally falling into the water. Funny how easy it is to forget that the Javits Center, just two months ago, served as a mass vaccination center, and the year prior a makeshift hospital for COVID victims. Mostly people were just happy to see each other again.
Dana Kopel’s piece in the Baffler Magazine, Against Artsploitation, which chronicles the unionization efforts at the New Museum, and the museum executive’s endless gaslighting of employees.
The New York Art Fairs. We talk about the art at The Armory Show, The Independent, and Spring Break. The work discussed below:
THE ARMORY SHOW
Jeffrey Gibson at Tandem Press
Wendy Redstar at Sargent’s Daughters
Tau Lewis at Night Gallery
Tony Matelli - Maruani Mercier
Theresa Chromati at The Kravets Wehby Gallery
Jennifer Bartlett at Locks Gallery
Kamrooz Aram at Green . Art . Gallery
Jose Davilas at Sean Kelly
Sara Greenberger Rafferty at Rachel Uffner
Susumu Kamijo at Jack Hanley
Hayley Barker at Shrine
Dontae Hayes at Mindy Solomon Gallery
Michael Rakowitz at Jane Lombard
Julian Schnabel at Vito Schnabel
Sedrick Chisom at New American Painting
Jo Nigoghossian at Broadway Gallery
Erik Parker at Ross+Kramer
Amy Feldman at Galerie Eva Presenhuber
Guy Richards Smit
Jennifer Catron and Paul Outlaw - curated by Magda Sawon
Chapel - curated by M. Charlene Stevens with work by Sophie Kahn and Colette Robbins
Outliars, curated by Elisabeth Smolarz, work by Angie Waller
Gather Rusted Satellites curated by Amanda Nedham Tristam Lasndwone, Kyle Hittmeirer
Explain Me with Laura Raicovich: Art and Museums in An Age of Protest
This week hosts William Powhida and Paddy Johnson sit down with curator, writer, and former museum director Laura Raicovich to discuss her new book Culture Strike: Art and Museums in An Age of Protest. We do a deep dive with her not just on the subjects in the book, but her latest project, The Art and Society Census. Relevant links below.
Culture Strike: Art and Museums in An Age of Protest, VERSO
The Art and Society Census, HYPERALLERGIC AND THE BROOKLYN PUBLIC LIBRARY
Deinstutitional Research Team. (A project William Powhida worked on mentioned in the book.) LINK
The Whitney Staff letter central to the Kanders' protests. HYPERALLERGIC
A good policy-based companion for Laura Raicovich's project. THE PEOPLE'S CULTURAL PLAN
A non-profit with a board structure worth promoting as a positive example. RECESS
Back story on Laura Raicovich's resignation from the Queens Museum of Art- ARTNET NEWS
This podcast makes me feel normal….like my instincts about the current art world aren’t off base. It’s also very informative and interesting, full of details that I would never know - being an artist working in the Midwest. “Fresh” is the word that comes to mind.
Real talk and I’m here for it
I love love love this podcast that takes the NYC artworld and breaks it downnnn. The hosts are candid, funny and thoughtful and they often relish poking fun at some of the ridiculous Emperors New Clothes-yness of the NY art market. It’s delightfully “Inside Baseball” too which I love. Don’t miss an episode!
Great ... but a little classist and sexist
Truly appreciate this podcasts and deeply respect the hosts — but I would like to challenge some of the old fashioned, patriarchal vocabulary used in the critiques. Classist, sexist, and “Greenbergian”language, particularly around “kitsch”, is just tired.