From an aesthetic point of view, the term “punk”—whether referring to a music genre, a fashion style, or a nonconformist attitude—has generated an incredibly diverse creative output that ranges from cynical and nihilistic to self-empowered and ethically sound. Tonight’s panel, organized by A.I.R. Gallery and the Women and the Arts Collaborative at Rutgers University, addressed the passionate, potent combination of youth rebellion, women’s rights, and fast, furious music through the stories of five panelists who emerged from various punk scenes in the United States.
In Terms Of is the proud recipient of a 2014 award from the Arts Writers Grant Program, sponsored by Creative Capital and the Andy Warhol Foundation for the Visual Arts. Designed to support writing about contemporary art, as well as to create a broader audience for arts writing, the program aims to strengthen the field as a whole and to ensure that critical writing remains a valued mode of engaging the visual arts.
Anticipating yet another version of the standard critic’s disclaimer, “We have no power and no one reads us, anyway,” I found the New School’s auditorium overflowing with an expectant audience, which, as Barbara Rose put it, did not look “as if they were about to ask the usual 1960s question, ‘How do I make it?’” Did this imply that the audience looked successful? Secure? Sophisticated? Shrewd? Savvy? I did see a lot of familiar faces.
The New School auditorium is an antiseptic affair after the historic Great Hall at Cooper Union and the raunchy amphitheater at the School of Visual Arts, but its acoustics are much kinder to amateur speakers. If that suggests I’m reviewing these programs as entertainment, I am. Douglas Davis remarked that the panel is itself now “a generic form.” It’s also a form of entertainment with aspects of performance, social arena, soap box, forum, and lately, gathering of lost lambs. This time, though, Barbara Rose came down like the wolf on the fold: “If you publish in an art magazine … you are writing ad copy,” she said, “and if you don’t know that, you’re stupid.”
Halfway through this conversation, the New York Times art critic Roberta Smith was asked, “How do you choose what to write about?” She responded by stating that it’s the art she really likes or dislikes, no matter if the artist is super popular or under recognized. “I’m interested in the unit of a show,” she noted, yet “we’re in this post-post-post period.” Although Smith gravitates toward “rematerialized objects,” a play on Lucy R. Lippard’s famous notion, “any kind of work can be made now.” This was all good news for the crowd of fifty-plus that gathered in a crit room at the New York Academy of Art, a small graduate school known for figurative and representational work.
Liam Gillick, an English-born, New York–based artist and educator, sneezed three months ago and became half deaf. He highly recommends the ear flush that corrected the problem. As the recipient of this treatment several years ago, I concur with the artist.
“Is it possible to define a cogent code of ethics in art writing?” asked the promotional statement for this panel, presented by the MFA Art Criticism and Writing Department at the School of Visual Arts. The answered offered by the giddy, often flustered moderator, Aimee Walleston, a graduate of the program, was something like “I think, um, I don’t know. It’s an interesting thing to think about!”
IN TERMS OF
Reviews of lectures, panels, interviews, conferences, and other live speaking engagements in the visual arts.