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Read an excerpt from the new book More Art in the Public Eye.
December 24, 2020
Staged between the cubicle-like glass partitions of Brookfield Place’s atrium, in downtown Manhattan, Ernesto Pujol’s performance
9-5 (2015) paid homage to city office workers; writing silently for 8 hours a day, performers’ meditative gesture evoked the repetitiousness of all labor and created a literature
of pedestrian life in the city. © Nisa Ojalvo 2015.
A mohawk-topped black man defiantly marches forward across a public plaza as a weaponized water cannon blasts him back, creating a visceral spectacle recalling civil rights confrontations in 1960s Birmingham, Alabama, but the year is really 2014, and the place is New York City. A series of free workshops teaches eager participants the art and history of protest songs, all the while repurposing such musical dissent to accommodate issues of contemporary resistance. A mysterious huddle of white-clad scriveners silently documents the routin
Supposedly, when he first saw the early-‘90s group photos by ART CLUB
2000, art dealer Colin de Land hated them. Not because the images were bad quite the contrary. Because he knew that they were too good, that the group’s collective self-portraits would overpower everything else they tried to do.
He was right, more or less. The cool retrospective of ART CLUB
2000’s work at Artists Space is sort of about the Monkey’s Paw curse of generational fame a curse which the group was very much aware of.
De Land’s American Fine Arts was a much-mythologized alt-commercial space, what Roberta Smith once called an “anti-art gallery.” Embracing “no capital as cultural capital,” its scrappy program took all kinds of fanciful risks.