Art/Aesthetics · Events

A Glimpse of Art’s Future at Documenta by Jerry Saltz

Three quarters of the art at Documenta 13, the gigantic 200-exhibitor show that just opened in the small German city of Kassel, is innocuous or worse. Derivative installations, found objects, text pieces, videos, sculptural fragments, empty rooms, performances, and sound works — it’s the kind of late-late conceptual/relational aesthetics hegemony endemic to these massive events. I won’t run down the list, but one immoral work (if such a thing can be said to exist) will suffice to give you the sense of it: In A Public Misery Message: A Temporary Monument to Global Economic Inequality, created by a group called the Critical Art Ensemble, viewers ride in a helicopter to heights corresponding to their net worth. The work is supposedly about wealth accumulation, and is an anti-market gesture. Surely it cost more to stage for a day than many museums and galleries can spend or generate in a year, or than most artists earn in a lifetime.

Excerpt of an article written by Jerry Saltz. Continue HERE
Image above: Song Dong’s Doing Nothing Garden (2010–12), at Documenta 13.

Art/Aesthetics · Human-ities · Social/Politics

Corporate Intrigue in the Art World

On Monday afternoon, the Artnet magazine Twitter feed was unusually somber. For years, the feed has been a reliable, go-to source for breaking news stories with actual relevance (not always a given in art journalism), but on that day the final post featured an Instagram photo of Lower Manhattan. “Goodbye beautiful Woolworth Building views,” read the message, written by the Artnet editor Walter Robinson, who had just been told that the magazine, where he’d served for 16 years as its only editor, was kaput. Even in this rare personal Tweet, it was hard not to see the news angle. Just a few months ago, Artnet moved to a lavish space on the 26th floor and then, this week, cut the magazine for failing to turn a profit.

“I’m shaken,” New York magazine’s art critic Jerry Saltz, whose writing has appeared on Artnet since 1998, told The Observer yesterday. He added that he was considering sending back his “low-three figure” freelance check for this month. “A really dynamic, really open, unpredictable, chaotic species just became extinct.”

Excerpt of an article written by Dan Duray, at the New York Observer. Continue HERE