High Times, Hard Times: New York Painting 1967-1975

at the National Academy Museum

Instead of writing, I should probably just post a link to Roberta Smith's review and then simply write the word 'Ditto.' But in lieu of the fact that I am uncomfortable with such a word, I will tell you, do read Smith's review, and I'll just put some emphasis on a point or two.

First, for young painters (and sculptors for that matter) this will be an important show to see for two reasons: (1) For the paintings, obviously, which, aside from being mostly incredible, are actual evidence of great discrepancies in the art historical cannon taught in school; and (2) because the artists that make up the exhibition serve as a more complete view of all the things that can happen to an artist. In other words, not all artists that get a lot of play continue to get a lot of play. Some fall completely off the map. Some stop working entirely. A few level off and continue for the rest of their lives. A an even smaller few continue in the big time. We tend to think, for good reason, primarily on that last group.

The second point I'll make is that this show is a valiant effort, but totally inadequate and (given the Academy's space) a bit weird. It just so happens to be the best we've got. As Smith points out, a bigger museum should have at least taken this show, if not developed it themselves long ago. My hope here is that this important exhibition will give the curators and historians the nudge they need to change and actually give some credit to these very important artists. This, of course, is the same hope that I had last summer when Cheim & Read had the Soutine show. Unfortunately, to my knowledge, there's still no Soutines hanging at MoMA and, last I checked, at the Met either. What is the matter with these people.