Rents are still high in New York, and artists are expected to have costly graduate degrees.
One of the most enduring and important factors in the art world - class - remains largely invisible in this show. And for painting by emerging artists, check out small galleries like 56 Henry, Jack Barrett, Charles Moffett or Housing, at 191 Henry, which aims to support Black artists in particular. For overlooked artists of all stripes, go to Ortuzar Projects in TriBeCa. For queer art and work that explores and celebrates intersectional identities check out Queer Thoughts, Company, Fierman, PPOW or the Leslie-Lohman Museum of Art. Swing by the gallery Higher Pictures Generation in Dumbo for a tutorial on contemporary photography.
They allude, however, to art being produced right now. While many of these artists have been overlooked, a fraction of the historical displays would suffice. There are also drawings, photographs and paintings from the ’80s by artists like E’wao Kagoshima, Julio Galán, Peter Hujar, Andreas Sterzing and Luis Frangella that offer a window into an edgier, largely pre-AIDS New York - as well as the rise of various aesthetics around graffiti and L.G.B.T.Q.I.A. Regina Vater’s two “Saudades do Brasil” videos, from the mid-70s and mid-80s, compare New York with gritty Brazilian cities. Peavy’s paintings here, made between the 1930s and ’60s, are part of a wave of resurrections of lesser-known women artists in the 20th century, including Agnes Pelton, Hilma af Klint and Emma Kunz, whose abstract paintings were based in spiritual or healing practices rather than the formal arguments and battles of mainstream art movements.Ī 1989 video of the poet Diane Burns (identified as Chemehuevi and Anishanabe) reciting a punk poem on the Lower East Side crackles with humor around Indigenous politics, gentrification and displacement. while attending a séance in California in 1932 and later moved to New York, where she lived and worked until age 97. Hands down the best paintings in the show are the bright, colorful abstractions by Paulina Peavy (1901-1999), an artist who said she had an encounter with a U.F.O. Near the museum’s entrance, their installation of T-shirts manufactured in China and printed with odd phrases in English creates a disjointed “poem.” A dedicated room at MoMA PS1 displays the contents of the collective’s “Canal Street Research Association” storage unit: foam Statue of Liberty crowns, miniature Empire State Buildings and other tourist curios. Two installations by the collective Shanzhai Lyric draw from the history of Canal Street, which started off as a swamp and a waterway and later became an artery for commerce, including bootleg luxury goods and T-shirts. Meanwhile, art in New York is vibrant, which you can see on any given day, particularly in galleries on the Lower East Side, Chinatown and TriBeCa, and in pockets of Queens. That is unfortunate, because it gives the impression that great art isn’t being made right now. The best work here, overwhelmingly, is the art made decades ago, not within the last few years. In the art world at the moment, it’s safer to celebrate the underknown, underrecognized and under-acknowledged artist who was radical half a century ago than to dive into the actual messy politics of the present. Organized by a curatorial team led by Ruba Katrib, “Greater New York” - which opened Thursday - is both a show of our moment and one that attempts to escape it through the trap door of history. Three things stand out about the current edition of “Greater New York,” a survey at MoMA PS1 of artists living and working in New York, which happens every five years: pitch-perfect politics, intense nostalgia and an underwhelming display of new art.
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