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While the space for artists and curators has increased enormously, maybe, just maybe, that's left room for too many people calling themselves artists and curators who are simply not up to the term.
A canon is antithetical to everything the New York art world has been about for the past 40 years, during which we went from being the center of the art world to being one of many centers.
Auction houses run a rigged game. They know exactly how many people will be bidding on a work and exactly who they are. In a gallery, works of art need only one person who wants to pay for them.
Abstraction brings the world into more complex, variable relations; it can extract beauty, alternative topographies, ugliness, and intense actualities from seeming nothingness.
Galleries needn't be exactly like White Columns purely because times are bad again. But the idea of this special space could - should - help shape what comes next.
Galleries began growing in both number and size in the late seventies, when artists who worked in lofts wanted to exhibit their work in spaces similar to the ones the art was made in.
New York being what it is, our museums are vertical, not horizontal. That means the stumbling blocks to architectural clarity are unavoidable - but certainly surmountable.
In some ways Lawler is a conceptual Diane Arbus. She's a stalker who takes advantage of situations. She pulls back curtains, causing normal things to look freakish and the freakish to turn mundane.
Mark Grotjahn's large new paintings abound with torrents of ropy impasto, laid down in thickets, cascading waves, and bundles that swell, braid around, or overlap one another.
Decades ago, Gerhard Richter found a painterly philosopher's stone. Like Jackson Pollock before him, he discovered something that had been in painting all along, always overlooked or discounted.
Early-twentieth-century abstraction is art's version of Einstein's Theory of Relativity. It's the idea that changed everything everywhere: quickly, decisively, for good.
Lucian Freud's career affirms that the only thing an artist can do is remain true to whatever vision, (lack of) talent, or ideas that happened to pick them in order to be made known to the world.
Now people look at 'The Scream' or Van Gogh's 'Irises' or a Picasso and see its new content: money. Auction houses inherently equate capital with value.
The last time money left the art world, intrepid types maxed out their credit cards and opened galleries, and a few of them have become the best in the world.
Biennial culture is already almost irrelevant, because so many more people are providing so many better opportunities for artists to exhibit their work.
Of course art world ethics are important. But museums are no purer than any other institution or business. Academics aren't necessarily more high-minded than gallerists.
After its hothouse incubation in the seventies, appropriation breathed important new life into art. This life flowered spectacularly over the decades - even if it's now close to aesthetic kudzu.
My culture-deprived, aspirational mother dragged me once a month from our northern suburb - where the word art never came up - to the Art Institute of Chicago. I hated it.
Anybody who writes knows the horrible, wonderful, beautiful foulness that comes every week. A lot of moaning, screaming agony - "Oh my god, the deadline's coming."
I don't want to hear at all what the artist thinks about his art. And I'm not writing for the artist. I'm writing for the reader, and I want to tell the reader what I think.
There's a lot of hate mail from readers. There's hate mail, threats, stalkers... I think that I'm bulletproof every week when I've turned something in. I think, I'm a god.