Last night’s Art for Art’s Sake block party was a pleasant blur. With the temperature in the sweet seventies and not a cloud in the autumn sky – really, not one – it was the perfect night for an art promenade. Read my AFAS preview here. Julia Street was crowded, but not as cramped as August’s White Linen Night. Lines at the outdoor bars were minimal and the food I sampled – macaroni and cheese studded with lobster – was outstanding. It would have been a great night out, even if the art had not been completely captivating.
At the Marianne Boesky gallery in New York’s Chelsea art district, the open-plan office zone is separated from the exhibition space by a wall with an open end, so shoptalk can be overheard from the public area.
NOW, ASK YOURSELF, honestly, what kind of art would you imagine you would find when you read that an exhibition involving Waters and Flood was opening at the Arthur Roger Gallery this month? As the second year of post-Katrina consciousness is now underway, I imagined that I would find a gallery filled with personal reminiscences constructed from the debris that littered the streets or photographs of people and places that had survived or not, or perhaps some before and after scenes. As a matter of course I visited the gallery website in preparation for my visit and, oh, was I surprised to see that the exhibition has nothing to do with Katrina or disaster or recovery or other such themes.
NOW, ASK YOURSELF, honestly, what kind of art would you imagine you would find when you read that an exhibition involving Waters and Flood was opening at the Arthur Roger Gallery this month?
Given the prices that art brings these days, and the reverence paid to art (sometimes exceeded by the reverence paid to the pursuit and purchase of art), the art world needs satirists like John Waters.
John Waters loves the art world. His delinquent, satirical vision has inspired generations of artists and outsiders. Next month, the New Museum of Contemporary Art presents “John Waters: Change of Life,” Feb. 7-April. 15, 2004, an exhibition of 80 photographs and other works.
“I always feel that if you asked me what movie that is from that the work has failed,” says filmmaker John Waters about his new photography retrospective at the New Museum of Contemporary Art.
As a filmmaker, John Waters could always see both the trash in glamour and the glamour in trash. His earlier, underground movies, starring the plus-size drag queen Divine (who died in 1988), are as exuberant in their devotion to the outré as they were, and in some ways still are, shocking.