MoMA has a new show that surveys contemporary painting. The husband-and-wife critical duo of Jerry Saltz and Roberta Smith seem to be having a hard time dealing with it. Both really like the show—it was curated by a friend—but both also seem to be haunted by the fact that the artists are successful too.
As art and painting become more broadly appealing to global culture, there seems to be a kind of resentment about art’s own success among those with longest term investment in art. Saltz makes the first attempt to articulate his anxiety about art’s success:
If MoMA is the Ferrari of Modernist museums, “Forever Now” is driving it like a Prius: something made to have minimum impact on the environment while making people feel okay about something troubling. […]
This is not a show to define a generation, since the artists are not of a generation as that term has typically been used. Instead, they are all participants in a cultural moment, in which painting has come to reign supreme, defined by virtuosic newness, of course, but more and more by the basic stylistic sameness valued by the art market and the art fair in particular. To those in the art world, the list of included artists will seem familiar, almost a lineup of acceptable artists and market darlings, many of whom are represented by major spaces or megagalleries like David Zwirner, Hauser & Wirth, and Marian Goodman. (Although a few do not fall into this category.) Many have had museum retrospectives. It’s not the fault of the curator, but most of these artists already fetch enormous prices — some in the millions of dollars — for their work. Indeed, the show’s opening found dealers and art advisers parked in front of artist’s work taking sales orders, as if at an art fair. […]
There was a panel this week titled “Zombie Formalism,” the term for precisely this kind of look-alike abstraction. Painter Walter Robinson who coined the term, remarked, “If bad abstraction is the problem then the virus spreading it is money.” It’s true — the market loves abstraction as an easy-on-the-eyes investment and surefire sign of being avant-garde and radical. But Hoptman is too good a curator, with too much integrity, to ever follow the whims of the market. Yet so many of the artists in “Forever Now” are critically or market approved that the exhibition has the feel of the validation of the inevitable. How does this happen, and what does it mean? Maybe it’s that curatorial impulses and market judgments are no longer separate enough that it makes sense to talk about one or the other taking over.
Smith goes a bit further. She likes the show in its particulars but seems unhappy that their might be something called “popular consumption’ of painting:
In short, this exhibition looks far too tidy and well behaved, much as you might fear a show of recent painting at the Modern would look: validating the already validated and ready for popular consumption. For the majority of the museum’s visitors who rarely set foot in commercial galleries, the show may hold surprises and even mild frissons of shock.
And this exhibition may also exceed the expectations even of gallery-scene regulars. Against the odds, it is surprisingly engaging. It gives you plenty to look at, which has become something of a rarity with shows of recent art at the Modern. (It’s when you consider what else could be here that the problems begin.)
The show is actually less predictable than the list of names would imply. It helps that there are new works by several artists. Some, like Julie Mehretu, have pushed into new territory (in her case, from drawing closer to painting, of a decidedly Twombly-esque sort).
If you focus intently, you can get an expanded appreciation of some of the artists. The much ballyhooed young painter Oscar Murillo, for example, shows several reasonably promising new paintings, albeit all lent by one of his galleries, which should have been avoided.
‘Forever Now’ Is MoMA’s Market Moment (Vulture)