"Greater New York"

By Siegel, Katy | Artforum International, May 2000 | Go to article overview

"Greater New York"


Siegel, Katy, Artforum International


P.S.1, NEW YORK

"Greater New York" sprawls. With two museums, thirty curators, one hundred and forty-nine artists, and neither catalogue nor stated mission, the show obviates usual questions of cohesion and taste. P.S.1. director Alanna Heiss dodges the bullet in the press release: Referring to the show as a "laboratory," she offers, somewhat vaguely, "The artists reveal what it is to be a New Yorker at the beginning of a new era." Capturing the contemporary is a paradoxical task complicated here by the fact that P.S.1. is now an affiliate of the Museum of Modern Art (which, as anyone who has visited Fifty-third Street lately knows, is having a tough time with the past, never mind the present). Balancing the young, unknown stars of tomorrow (P.S.1's arena) with well-established artists (MOMA territory) raises the stakes, with no clear outcome.

As a result, "Greater New York" resists reviewing. Perhaps the only thing that emerges with any decisiveness is that new New Yorkers seem to inhabit very small studios: Much of the work is modest in scale, either in its overall dimension or in the size of the bits and pieces that compose it. Rob de Mar's tiny oases perch atop tall pedestals; Clara Williams's quiet pastoral is desktop-size; and Michael Ashkin's diorama reprieves his signature minimal miniaturism. Mick O'Shea's Artworld, 1999, a model train set, is a little too cute to function as an effective critique of its semi-serious subject. Taking on the still deeper issues of progress and technology, Paul Etienne Lincoln's brass-and-aluminum New York--New York (model), and Julian LaVerdiere's ghostly installation of a ship model fare better with a straight-faced approach. The collective BIG ROOM's deceptively recessive representation of an airport tunnel and Roxy Paine's faux fungi win you over with sheer technical bravado. Admiring the intensity of th e illusions, it's hard not to ooh and aah.

The best painting and drawing tends toward the small as well, most notably Ruth Root's oils on paper, which keep playfulness on the right side of whimsy; James Siena's more geometric paintings; Tim Gardner's watercolors of young men; and David Dupuis's wonderful biomorphic drawings. Also in evidence is the funny subgenre of "chart art." Its best-known practitioner is the late Mark Lombardi, who details political conspiracies in antiseptically clean flowcharts. Erik Parker does the same for the art world--albeit as a fan, not a critic--detailing a family tree of influences from high to low. My favorite charts are by Elizabeth Campbell, who mixes free association and free-floating anxiety to map out various choices in love, career, and diet and to detail their consequences, which range from stardom to extreme weight gain. …

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

"Greater New York"
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.