{"id":421,"date":"2009-04-13T04:00:00","date_gmt":"2009-04-13T11:00:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/anotherbb\/wp\/2009\/04\/about_last_week_-_what_stands_1\/"},"modified":"2009-04-13T04:00:00","modified_gmt":"2009-04-13T11:00:00","slug":"about_last_week_-_what_stands_1","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/anotherbb\/2009\/04\/about_last_week_-_what_stands_1.html","title":{"rendered":"Night & day: Michael Kimmelman\/Holland Cotter in the New York Times"},"content":{"rendered":"

Reporting on quake damage<\/a> in L’Aquila, in central Italy, the New York Times’ traveling art critic, Michael Kimmelman, steps out of the story to comment on why he’d rather live out of suitcases on the road than be part of the contemporary art world he once knew:<\/p>\n

Italy is not like America. Art isn’t reduced here to a litany of obscene auction prices or lamentations over the bursting bubble of shameless excess. It’s a matter of daily life, linking home and history. Italians don’t visit museums much, truth be told, because they already live in them and can’t live without them. The art world might retrieve a useful lesson from the rubble.<\/p><\/blockquote>\n

He could be Moses looking down from a mountain top at a party below. All he sees is the party he hates. He misses whatever else extends to the horizon line. Personally, I’m not looking for Old Testament from an art critic. <\/p>\n

At the same paper, Holland Cotter is (as usual), open, generous and perceptive, this time in a review<\/a> of Younger than Jesus<\/i> at the New Museum<\/a>. Towards the end of his essay, however, he raised a question the New Museum would do well to ponder:<\/p>\n

“Younger Than Jesus” …is, despite its promise of freshness, business as usual. Its strengths are individual and episodic, with too much work, particularly photography, making too little impact. But my point is that beyond quibbles about choices of individual works, (the show) raises the question of whether any mainstream museum show designed to be a running update exclusively on the work of young artists can rise above being a preapproved market survey. Removed from a larger generational context, can such a survey ever become a story, part of a larger history? (The same question applies to museum exhibitions that leave young artists out of the picture.) I’m asking. It’s a complicated subject. I don’t know the answer.<\/p>\n<\/blockquote>\n

Cotter’s last graph is perfect closer for an review on the latest in dewy fresh faces: <\/p>\n

<\/p>\n

A small commercial gallery called BLT<\/a>, on the Bowery across from the New Museum, has announced that its May exhibition will consist exclusively of artists born before 1927. Louise Bourgeois<\/a>, Lucian Freud<\/a> and Ellsworth Kelly<\/a> will be among the participants. The show will be called “Wiser Than God.”\n<\/p><\/blockquote>\n<\/blockquote>\n","protected":false},"excerpt":{"rendered":"

Reporting on quake damage in L’Aquila, in central Italy, the New York Times’ traveling art critic, Michael Kimmelman, steps out of the story to comment on why he’d rather live out of suitcases on the road than be part of the contemporary art world he once knew: Italy is not like America. Art isn’t reduced […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-421","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/421","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/comments?post=421"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/421\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/media?parent=421"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/categories?post=421"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/tags?post=421"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}