Newspapers with art critics: California shines
There are no art critics on staff at daily newspapers in Seattle, Chicago, Miami, Dallas and Houston, among others. The admirable Douglas Britt works for the Houston Chronicle on contract. Even though he has the output of two staffers and has brought the paper back into the national discussion, the Chronicle has not said it will restore the position.
A newspaper art critic differs from colleagues at art magazines in one essential, and it's not that the former is less savvy than the latter, although that is frequently the case. A critic at the newspaper aspires to a general audience. The chance to hook somebody with a review who's flipping pages to get somewhere else is tantalizing.
Without newspapers, those accidents appear to be less likely to happen, but there is more depth and range in each separate field, with Web sites available to run on a constant scroll across the face of cell phones.
In that context, art coverage in Golden State newspapers remains golden.
Here's Knight on MoCA. As ever he's making the case for Los Angeles:
But this is not just a promotional treasure-house show. Installed chronologically by chief curator Paul Schimmel, it also tells a story -- although one that's rarely heard. The postwar rise of American art is paired with the simultaneous rise of Los Angeles, from shallow backwater to cultural powerhouse. (more)Kenneth Baker is more detached. He makes his case artist by artist and doesn't care about regional positioning:
Expatriate American painter Cole Morgan works like a man keeping a journal, jotting down scenes, images and incidents for a story that never gets told... The studio wall - a catchall for reminders, sketches, mementos, little visual gimmicks - may be (his) ultimate subject...Morgan's work can seem annoyingly mannered at times, but his fondness for making it never comes into doubt, a quality found too rarely in contemporary art. (more)

Things make their way into Carnwath's paintings as they do into anyone's consciousness: by intrusion, by triggering memories and ricocheting off the mental walls of habit and fixation. (more)

Also from Baker, bad news for the Berkeley Art Museum:
A shortage of funds has prompted UC Berkeley to abandon its plan to construct a new Berkeley Art Museum and Pacific Film Archive downtown. The building, a distinctive and innovative design by Tokyo architect Toyo Ito estimated to cost $143 million, was to replace the museum's present, seismically endangered quarters on Bancroft Way, completed in 1970. (more)Baker and Knight are stellar, but also solid is Robert Pincus at the San Diego Union-Tribune. His recent piece on Tara Donovan says it all.
Sample:
The question -- How did she do it? -- has different facets to it. There's the technical aspects of how to get thousands of pins to form a cube without adhesives (density and gravity are what does the remarkable trick) and how thousands of straws stay in place when stacked (some adhesive here).Knight, Baker and Pincus are all veterans. Britt in Houston represents critics of the next generation. For them, there is no room in the old media landscape, and the new can't come soon enough.
But there is also the bigger issue: How are these works so much greater than the sum of their parts? The best word for it might be alchemy. A wall of straws, "Haze," doesn't look like straws -- it resembles a meteorological event, shifting clouds or fog. Scotch tape becomes a field of delicate forms, looking like a bed of underwater flora. (more)
About
Regina Hackett ... is the former art critic for the former Seattle P-I. I loved that job every day, but it's gone and I've moved on. As they say in the movies, to infinity and beyond.
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Contact me Click here to send me an email, or email me directly at anotherbb(at)gmail.com. My mailing address is 300 Queen Anne Ave. N. Seattle, WA 98109
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Old, Weird America reviews on this blog: Godforsaken Curios; Margaret Kilgallen owns Main Street; Sam Durant gives thanks, and If Northwest artists had been in The Old, Weird America, it would have been a stronger show.
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