THE INDEPENDENT VOICE OF THE VISUAL ARTS Volume 31 No. 1 September/October 2016 £4 UK/ $6.00 US/ $7.75 Canada/ C=6.50 Europe Established 1973 Plus ça IN THIS ISSUE EDITORIAL Museum Practices: A Symptom of the Times — Then and Now by DEREK change… GUTHRIE SPEAKEASY Plus c’est la meme chose by STAN KLEIN ARTICLES A Dream Denied DANIEL NANAVATI lays out the The crushing of the error of DePaul’s ways Death Stalks Damien’s imagination museums/markets DANIEL NANAVATI examines Damien Hirst’s curatorial foray Plus ça change, plus c’est la meme chose Two NAE reprints that document the ongoing problem of secret control of the arts REVIEWS Mika Horibuchi and Brittany Nelson at PATRON Life’s Struggles and Black Rage: The Fire Then and Now Camera Wields Power to Mediate/Manipulate John Santoro’s Slow Painting Douglas Gruizenga sculpture Subscriptions Available from the following outlets in The New Art Examiner is the product of the Cornwall thinking and life-long contribution of Jane Add- Belgrave Gallery, St Ives; ams Allen. We thank you in her name for reading Camelford Art Gallery, Camelford; her independent journal of art criticism. Exchange Gallery, Penzance; Penwith If you have any interest in our venture, please consult Google, also Art Cornwall, for an inter- Gallery, St.Ives; Anima-Mundi, St.Ives; view with the publisher, Derek Guthrie, a painter Falmouth Art Gallery, Falmouth; Redwing who keeps his art practice private. Gallery, Penzance; Tate, St Ives; The New Art Examiner has a long history of Terre Verte Gallery, Altarnun producing quality and independent art criticism. Chicago and Cornwall, as any art scene, needs National Distribution writers to keep a professional eye on art activity. Capital Books, London. Otherwise, independent trading will determine success in this troubled art world. You can participate directly by sending letters to the editor which are published unedited. All editions include the digital issue sent via Advertising Rates 2016 e-mail. 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[email protected] NEW ART EXAMINER CONTENTS 4 LETTERS 5 EDITORIAL Museum Practices: A Symptom of the Times—Then and Now by DEREK GUTHRIE 6 SPEAKEASY by STAN KLEIN 7 A DREAM DENIED DANIEL NANAVATI lays out the error of DePaul’s ways 9 DEATH STALKS DAMIEN’S IMAGINATION DANIEL NANAVATI examines Damien Hirst’s curatorial foray 10 PLUS ÇA CHANGE, PLUS C’EST LA MEME CHOSE Two NAE reprints that document the ongoing problem of secret control of the arts 11 Museum Ethics: Still a Problem for the Profession Reprint of TOM MULLANEY’S 1982 New Art Examiner article 21 Wheelers Dealers and Supercollectors Where are they taking the art market? Reprint of JANE ADDAMS ALLEN’S 1986 Washington Times article 29 REVIEWS 29 Mika Horibuchi and Brittany Nelson at PATRON by KATE HADLEY TOFTNESS 31 Life’s Struggles and Black Rage: The Fire Then and Now by DIANE THODOS 33 Camera Wields Power to Mediate/Manipulate by EVAN CARTER 35 JOHN SANTORO’S Slow Painting at Richard Gray by DEREK GUTHRIE 35 Douglas Gruizenga, part of the 15th annual Chicago Sculpture Exhibit by MICHEL SÉGARD 36 NEWSBRIEFS 1 NEW ART EXAMINER New Art Examiner NEW ART Examiner STATEMENT OF PURPOSE Derek Guthrie, Publisher and Co-founder Michel Ségard, Associate Publisher The New Art Examiner is a not-for- Tom Mullaney, US Editor [email protected] profit organization whose purpose is to Annie Markovich, US Managing Editor examine the definition and transmission [email protected] of culture in our society; the decision- Daniel Nanavati, UK Editor making processes within museums and [email protected] schools and the agencies of patronage Anne Godden Ségard, Copy Editor which determine the manner in which James Brown, Editor, Art Press Reviews culture shall be transmitted; the value Roland Gurney, Treasurer Chris Smith, Chair of the UK Associates systems which presently influence the Contributing Editors making of art as well as its study in John Link, Michigan exhibitions and books; and, in particular, David Houston, Georgia Donald Kuspit, New York the interaction of these factors with the Darren Jones, New York visual art milieu. George Touche, New Orleans John Steppling, Norway George Care, UK Frank Corrigan, Oxfordshire WEB SITE: www.newartexaminer.net A CHICAGO TRADITION Cartoons John Dunbar Kilburn Jonathon Xavier Coudrille Steve Harmann UK Distributor: Capital Books Cover Image: Michel Ségard Would you like to write for the New Art Examiner? [email protected] The New Art Examiner is indexed in : Art Bibliographies Modern, Art Full Text & Art Index Retrospective and Zetoc UK Office: Rosehill, Altarnun, Cornwall. PL15 7RL. UK. RESTAURANTS & CATERING US Office: P.O. Box 15462, Chicago, IL 60615. USA. 909 W. Belmont Ave. 773-348-2378 Inquiries: 1147 W. Granville Ave. 773-274-0557 [email protected] [email protected] 3415 N. Broadway Ave. 773-305-0024 [email protected] All Letters to the editor are printed SUPPORTING THE VISUAL ARTS without editing. [email protected] 2 LETTER NEW ART EXAMINER Dear Editor, today about resurrecting the New Art Examiner is whether it is worth the effort for a city I have The New Art Examiner, I do feel, was an essen- finally, after all these years, seen as a dead end, tial forum for the burgeoning Chicago art scene a wasteland for serious art. Now this last is cer- in the 70s. It gave all of us a sense of hope, and a tainly arguable. However, having spent over 30 venue for other artistic traditions i.e., abstraction years in the Chicago art scene in many different and even realism as opposed too the home grown guises as an artist, critic, teacher not much has strain of surrealism practiced by the so-called changed. In fact galleries are closing, there isn’t Imagists. The Examiner also critiqued the major much support from the institutions; I have no idea art institutions and what they were supporting to what happened to the collector base. And finally, please their collector base and donors. The other most of the artists who were annointed in the 80s void the Examiner filled was the surprising pauci- have found refuge in academia. I always think of ty of critical discourse for a major city. Especially, the late Ed Paschke in this regard who was one of the fact that the few writers that were practicing the most “famous” Chicago artists but who con- in the daily press were unabashed supporters tinued to keep his day job as an art professor at of the imagists, i.e. Dennis Adrian, and more Northwestern. importantly, Franz Schulz who at that time had written the only history of Chicago art, Fantastic Images. And one more thing: it was an opportu- Corey Postiglione nity, a laboratory, to write about art, which was Professor Emeritus the case for this writer. The only caveat I have Of Art History and Critical Theory 3 EDITORIALS Left at the Altar DePaul’s last-minute decision in July to not However, we felt that NAE would pass the six- pursue a publishing partnership with the New Art month inspection and the partnership would be Examiner (NAE) felt akin to the groom who has renewed. spent months of courting only to find his beloved Between the April draft agreement and June, has gotten cold feet. All that now remains of a a major change occurred. A new Dean assumed bold idea is disappointment. the leadership of the College of Liberal Arts and When our editorial team of Derek Guthrie, Social Sciences. Papanek-Miller and Gardner- Tom Mullaney and Annie Markovich first met with Huggett supposedly made their recommendation DePaul’s Mary Ann Papanek-Miller (Chair of Art, and left the scene. Media and Design) and Joanna Gardner-Huggett Guthrie returned from England with high (Chair of Art History) in January, 2015, the mood expectations for the final meeting with the Dean. was one of excitement. During that meeting, Dean Guillermo Vasquez de NAE’s hard-won reputation as an independent Velasco informed him that DePaul would need voice for the visual arts was recognized as pre- to play a stronger role beyond “layout improve- cisely the editorial connection DePaul sought for ments and providing infrastructure and financial its students and its plans to develop a minor in support.” Arts Criticism.