ARTPULSEARTPULSE NO. 21 | VOL. 6 | 2015 WWW.ARTPULSEMAGAZINE.COM Kendall Buster Artists as Educators: Enrique Marty The Legacy of 1950’s Bay Area Figurative Painters Craig Drennen Jorge Perianes Angel Abreu on Tim Rollins and K.O.S. Art Fairs and Thought-Space arte_FIST FOUNDATION Buildering: Misbehaving the City The Critic As Artist: Peter Schjeldahl on Oscar Wilde 1 Publication: Publication: LaPlacaCohen 212-675-4106 Insertion date: Insertion date: Size: ARTPULSE JAN Douglas x 11.875" 9.125" 201 5 Coupland 4C MAG everywhere is anywhere is anything is everything PRESENTED BY One of Canada’s most provocative cultural thinkers and artists questions what our future holds ONE EXHIBITION. TWO VENUES. ROM: January 31 – April 26, 2015 MOCCA: January 31 – April 19, 2015 couplandto.ca #COUPLANDTO SUPPORTING SPONSOR ORGANIZED BY Douglas Coupland: everywhere is anywhere is anything is everything is organized and circulated by the Vancouver Art Gallery and curated by Daina Augaitis, Chief Curator/Associate Director. The exhibition is presented in Toronto by the Royal Ontario Museum and the Museum of Contemporary Canadian Art and is being held concurrently at both institutions. This exhibition was made possible with the generous support of The Keg Steakhouse + Bar, and The Artworkers Retirement Society. Images: Top: Douglas Coupland, Brilliant Information Overload Pop Head, 2010, acrylic and epoxy on pigment print, Collection of Lucia Haugen Lundin. Bottom: Douglas Coupland, Towers, 2014, Lego, 50 components, Courtesy of the Artist and Daniel Faria Gallery. Photos: Rachel Topham, Vancouver Art Gallery. The ROM is an agency of the Government of Ontario. 2 ARTPULSE l www.artpulsemagazine.com ROM-0038a-DouglasCoupland_Artpulse_9.125x11.875_Jan2015_v2_forMOCCA.indd 1 11/20/14 4:08 PM 1 REUVEN ISRAEL MULTIPOLARITY Nov 7 - Dec 20, 2014 FRIDMAN GALLERY 287 Spring Street, NYC Dec 3 - 7, 2014 UNTITLED. Miami Beach Ocean Drive and 12th Street 2 ARTPULSE l www.artpulsemagazine.com FRIDMAN GALLERY 3 4 ARTPULSE l www.artpulsemagazine.com MIXED GREENS KEITH LEMLEY February 19 – March 21, 2015 JOSEPH SMOLINSKI JULIANNE SWARTZ March 26 – April 25, 2015 February 19 – March 21, 2015 >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> 5 MIXED GREENS >>> 531 W 26TH ST, 1ST FL, NEW YORK, NY, 10001 >>> TEL: 212 331 8888 >>>>>> WWW.MIXEDGREENS.COM >> Lorenza Panero | Untitled I & II | Luminography mounted on dibond with plexiglass 4213 PONCE DE LEON BLVD. CORAL GABLES, FLORIDA 33146 305.446.5578 www.americascollection.com 6 ARTPULSE l www.artpulsemagazine.com AMERICAS COLLECTION AD JANUARY 2014.indd 1 11/19/2014 1:39:05 PM 7 8 ARTPULSE l www.artpulsemagazine.com 9 10 ARTPULSE l www.artpulsemagazine.com 11 12 ARTPULSE l www.artpulsemagazine.com Anuncio - Art Pulse.pdf 1 11/18/14 7:45 PM C M Y CM MY CY CMY K 13 14 ARTPULSE l www.artpulsemagazine.com 15 16 ARTPULSE l www.artpulsemagazine.com 17 Rising Above the Predictable ARTPULSE EDITOR IN CHIEF In our postmodern firmament “hope” may not be the sexiest idea, but it is Raisa Clavijo timely as we focus this issue on such topics as doing things better in our little SENIOR EDITOR niches of the art world. Stephen Knudsen Jon Seals’ essay, A Common Core, centers on the 1950’s Bay Area Figurative CONSULTING EDITOR painters, and delivers a mantra that is the heart of this issue: “The best artist/ James Lough educators, like rip currents, pull everyone in their path far past the shore’s safety CONTRIBUTING EDITORS and into the unknown expanse of the ocean.” Paco Barragán Owen Duffy Scott Thorp Jennie Klein To enlighten this idea Scott Thorp interviews Kids of Survival (K.O.S.) artist Michele Robecchi Colleen Asper Angel Abreu. Thirty years ago, when Angel was eleven, a rip current named Tim Peter Schjeldahl Jeff Edwards Rollins arrived at a hell-bent school in the Bronx and took Angel and his at-risk Jon Seals Irina Leyva-Pérez cohorts on the ride of their lives. With decades of museum shows to their credit, CONTRIBUTING WRITERS K.O.S. and Abreu continue to pull school kids into professional collaboration. Megan Abrahams Laura Burton Christina Schmid Jeriah Hildwine Then Peter Schjeldahl, art critic of The New Yorker, joins us with his essay, Othiana Roffiel Janet Batet The Critic as Artist, reminding us that when we pull others from the safety of Jill Thayer Carla Acevedo-Yates Taliesin Thomas Tori Bush the shore, we take ourselves into the unknown as well. I wish we could have Peter Drake Emilia Quiñones-Otal more art criticism like Schjeldahl’s. I am hopeful we can. Anelys Alvarez-Muñoz Schjeldahl’s timely advice offers an alternative to the common brand of art LEGAL CONTRIBUTOR criticism built on dry description and predictable arguments: “We grope for a Octavio Robles sentence that advances the argument we’re making; reads well; and, we hope, EDITORIAL ASSISTANT surprises us. We live to be surprised.” Diana Lee In Art (Without) Criticism Paco Barragán reminds us that critics still have COPY EDITOR power in “passionate, honest, and direct” writing that unhitches itself from Gregg Lasky art criticism’s identity crisis. Practicing a little forgetfulness concerning market Jim Janson Brian Bixler supremacy goes a long way here. Don’t count the underdog out. And on that note, Colleen Asper interviews Craig Drennen, a painter who TRANSLATORS Diana Scholtz Israel “inhabits” cultural artifacts that are iconic for their very obscurity. Imagine five Félix Lizárraga years of work based on the 1984 movie Supergirl, “a spinoff largely regarded as CONSULTING ART DIRECTOR a failure and left out of the Superman canon.” Eddy López Into the mix we add the artist, educator and writer Kendall Buster. She and I talked about her popular text (co-authored with Paula Crawford) The Critique GRAPHIC DESIGNEr Hugo Kerckhoffs Hand Book: The Art Student’s Sourcebook and Survival Guide. Her advice can make us all better at letting artwork reveal itself by, basically, slowing down: “I PHOTO EDITOR Gady Alroy typically begin critiques with writing. It slows everyone down to really look at the work and get in touch with their responses before beginning the very differ- PHOTOGRAPHY ent dynamic of verbal discussion.” Mariano Costa-Peuser - Charles A. Shaw Owen Duffy dovetails into this theme with his essay Art Fairs and Thought- ADVERTISING ASSOCIATES Space, where he cautions us about the limitations of the razzle dazzle, high- Carl Sutton Amy Beaumont speed experiences at the art fair. While the art fair creates under-one-roof con- venience “it denies us the possibility of what art historian and cultural critic ADVERTISING [email protected] Aby Warburg called ‘thought-space’ (Denkraum), the sense of distance from our environment needed for contemplation.” Bet on Jean Baudrillard being DIRECTOR José López-Niggemann brought into the discussion here. The issue reminds us that—thankfully—there are real art worlds beyond the tent. ARTPULSE is published four times per year Jeff Edwards interviews Carolina Stubbe, founder of arte FIST FOUNDATION a SUBSCRIPTIONS ARE: non-profit in Puerto Rico that facilitates site-specific land art public projects. Then $30 USA / $50 Mexico & Canada / $60 International Irina Leyva-Pérez interviews Jorge Perianes, a Spanish artist known for evoking EDITORIAL INQUIRIES thought space through absurd nature-based installations that mull over our inability [email protected] to understand our very existence. Then Jennie Klein’s essay, Buildering: Misbehav- GENERAL INQUIRIES ing the City shows us art that finds its currency in swinging on, climbing—and even [email protected] jumping from—urban structures. Then, Michele Robecchi contextualizes the 2013 SUBSCRIBE ONLINE work of Sharon Hayes: video interviews investigating sexual orientation of students www.artpulsemagazine.com at a women’s college in Massachusetts. PUBLISHER And to book-end this summary, Paco Barragán interviews artist Enrique ARTPULSE LLC Marty, an artist whose view on irony and sarcasm should be pulled into the P.O. Box 960008 Miami, Fl. 33296 conversation: “Sarcasm ... is something I try to avoid (it even repels me). I’m 1-786-274-3236 solely interested in irony, and always as a beginning point, never for its own ARTPULSE LLC, is not responsible for and does sake. Sarcasm and cynicism are like salt on grass.” not necessarily share the opinions expressed by its contributors, nor does it assume any responsibility for They are corrosive to hope. unsolicited materials or contents of advertisements. Stephen Knudsen No portion of ARTPULSE may be used or reproduced in any form without the express written Senior Editor permission of the publisher. All rights reserved. 18 ARTPULSE l www.artpulsemagazine.com CONTRIBUTORS Stephen Knudsen is the senior editor of Paco Barragán is an independent curator and ARTPULSE. He is an artist and professor arts writer based in Madrid. He recently cu- of painting at the Savannah College of Art rated “Erwin Olaf: The Empire of Illusion” and Design and a contributing writer to The (MAC, Santiago de Chile, 2014) and “En- Huffington Post, Hyperallergic and other rique Marty: Group Therapy, Act of Faith, publications. He is an active visiting lec- Dark Room” (DA2 Salamanca, Spain, 2014). turer at universities and museums, and his He is also a Ph.D. candidate in advanced forthcoming anthology is titled The ART studies in art history at the Universidad de of Critique/Re-imagining Professional Art Salamanca, Spain. Barragán is co-editor of Criticism and the Art School Critique. When a Painting Moves... Something Must be Rotten! (2011) and author of The Art Fair Age (2008), both published by CHARTA. Scott Thorp is an artist and professor at Colleen Asper is an artist whose work has the Savannah College of Art and Design. been shown internationally and reviewed in Specializing in creativity, his book, A Cu- publications such as Artforum, The New York rious Path: Creativity in an Age of Abun- Times and The New Yorker.