Christopher Knight, the Los Angeles Times Art Critic has written up an interesting article on Jeffrey Deitch’s start as Director (the fourth in 30 years) and gives his point of view on where the reality of life in LA can begin to match the goals of the Museum. Numbers mater in the Art world even if we don’t want to talk about it and MOCA’s attendance has been dropping steadily for years. Couple that with the fiscal mismanagement gamble back in 2008 where they created a budget that relied on donor money to cover around 80% of the cost (money that evaporated with the crash) and things were pretty bleak.
The consensus & expectation is that Jeffrey Deitch will bring the kind of shows and energy that will rally the general population of LA and raise attendance above it’s current 600 people a day. Think about that, 600 people, more people visit this site then MOCA in a given day and MOCA is spending $20 Million a year. MOCA has a wonderful collection and this isn’t a referendum by the people of LA on Art but on the growing disconnect between Art Tastemakers and the general population. A rift that has been growing for years with little to no abatement.
It’s not just LA, we have had the same debates on hours of operation & marketing of events in Chicago for over 5 years. Christopher Knight goes on to offer his advice on what Mr. Deitch might want to examine as Director and the second I can agree with aspects of, the first not so much:
1. General admission: take it from $10 to free
I have always questioned why everything needs to be free. In my experience people have a habit of discounting what they don’t pay for and it effects the overall opinion. Work at a bar (or the music industry these days) and you can see that in action, lines and a small cover even if they are annoying increase the overall pleasure of the experience as long as guests expectations are met once they enter. Also even if the door charge is less then 10% of the budget that is still a valuable/usefull daily cash flow even for an institution of that size. Art like any other business lives and breathes on cash flow.
I would suggest price pointing it at $5 a person and make it free to seniors, students & active military (for many solid reasons not worth rehashing here). At that price it has a real value, is proportioned correctly to films, concerts & other nightlife activities and doesn’t nullify the whole selling point of yearly membership.
2. Hours of Operation: take it from closing at 5-6pm & 8pm on Thursday to more befitting late nights.
No argument but very tricky and might not be as useful as even I thought years ago. This just might be a tourist/weekday local/weekend world we live in.
The one thing that Mr. Knight doesn’t tackle is the one thing that everyone is so afraid of about Jeffrey Dietch as Director, the “curatorial” focus of the exhibits and I think more so “how they are marketed to the world”. Everyone is waiting on baited breath since it seems no one has faith that an intelligent discussion on Art can be molded into a form of interest to the general public. That is the great experiment going on in LA and if it is successful could echo throughout the American Art World as a whole and faster then you might think.
Artinfo.com reports on the conversation between Carlo McCormick and Jeffrey Deitch that took place at apexart last week: In a Farewell Address, Jeffrey Deitch Voices Ambivalence. Written by Andrew Russeth, the post appeared a day after the talk took place. Two corrections: Bad at Sports isn’t a ‘curatorial’ collective, and the photograph posted alongside the article was taken by Bad at Sports’ Meg Onli (and originally posted on our Twitter page), but was not credited thusly. But these are minor quibbles – anyone who can attend a talk, grab the best quotes, synthesize information and produce a well-written writeup in a matter of hours has our respect. Oh and hey!!– on the podcast this week, you can listen to the McCormick/Deitch conversation for yourself, in full. So have at it!
This week Jeffrey Deitch interviewed by Carlo McCormick!!! Recorded before a live studio audience at the BAS apexart show “Don’t Piss on Me and Tell Me it is Raining.”
Carlo McCormick is a leading New York art writer and a champion of “the downtown scene”. For almost decades Jeffrey Deitch has been perhaps the most important taste maker and facilitator of emerging contemporary art in New York City and the world. On the eve of Deitch’s departure from New York, Carlo will talk to Jeffrey about his time and legacy as one of the most visible, dynamic and controversial players in the the New York art world.
In conjunction with the exhibition Don’t Piss on Me and Tell Me it’s Raining apexart presents a conversation between Jeffrey Deitch and Carlo McCormick. On the eve of Mr. Deitch’s departure from New York, he’ll discuss his time and legacy as “one of the most visible, dynamic and controversial players in the New York art world.” Full details on the talk below, straight from the source. Keep your eyes on our website for the broadcast of this conversation on an upcoming episode of Bad at Sports’ podcast.
Carlo McCormick is a leading New York art writer and a champion of “the downtown scene.” He is the author of numerous books, monographs and catalogues on contemporary art and artists, and has lectured and taught extensively at universities and colleges around the United States. His writing has appeared in Aperture, Art in America, Art News, Artforum, Camera Austria, High Times, Spin, Tokion, Vice and countless other magazines. He has curated shows for the Bronx Museum of Art, New York University, the Queens Museum of Art and the Woodstock Center for Photography. McCormick is Senior Editor of PAPER magazine.
Jeffrey Deitch has been a paragon of taste and a fierce proponent of contemporary art and its emergence both in New York City and the world at large. Deitch is a dealer in modern and contemporary art and an art advisor to private and institutional art collectors. He is also an art writer and exhibition organizer, having contributed to Arts, Art in America, Artforum, and numerous other publications, and served as the first American Editor of Flash Art. He received an Art Critic’s Fellowship from the National Endowment for the Arts in 1979. Deitch’s first important curatorial project was Lives, a 1975 exhibition about artists who used their own lives as an art medium. It was presented in a vacant office building in Tribeca. His most ambitious exhibition was Post Human, which opened at the FAE Musée d’Art Contemporain in Lausanne in June 1992, and travelled to the Castello di Rivoli in Torino, the Deste Foundation in Athens, the Deichtorhallen in Hamburg, and the Israel Museum in Jerusalem. Prior to opening his own art advisory firm in 1988, Mr. Deitch was a Vice President of Citibank where he spent nine years developing and managing the bank’s art advisory and art finance businesses. Before joining Citibank, he was the Assistant Director of the John Weber Gallery in New York and then the Curator of the De Cordova Museum in Lincoln, Massachusetts. After a long career in New York, he will start as Director of the Los Angeles MOCA in June 2010.
Please join us.
All events are free and open to the public.
apexart‘s exhibitions and public programs are supported in part by the Andy Warhol Foundation for the Visual Arts, Carnegie Corporation of New York, Edith C. Blum Foundation, Mary Duke Biddle Foundation, The Greenwich Collection Ltd., The William Talbott Hillman Foundation, and with public funds from the New York City Department of Cultural Affairs and the New York State Council on the Arts.
291 Church Street, NYC, 10013
t. 212 431 5270
Over the past two months everyone at Bad at Sports has been in a frenzy preparing for the exhibition, “Don’t Piss On Me And Tell Me It’s Raining” at apexart in New York. The show was a bit of a last-minute golden opportunity, so details have been scarce, but we now have the full scoop on what’s in store, and it’s pretty awesome. (You can keep up with Meg, Duncan, Amanda, Tom and Richard throughout the show’s installation and opening events by following Bad at Sports on Twitter and the hashtag #basapex.) The exhibition features over 100 objects, images and ephemera that will serve as a visual complement to Bad at Sports’ considerable audio archives, submitted by Bad at Sports contributors and guests of the show, including:
Carol Becker, Britton Bertran, Temporary Services, Adam Brooks and Mathew Wilson, Ivan Brunetti, Tom Burtonwood, David Coyle, Death by Design, Elizabeth Chodos, Miguel Cortez, Tony Fitzpatrick, Rob Davis and Michael Langlois, Jeremy Deller, Lisa Dorin, Jim Duignan, Dan Devening, Cody Hudson, Jason Dunda, Fendry Ekel, James Elkins, Anthony Elms, Pete Fagundo, Mary Rachel Fanning,Tony Feher, Rochelle Feinstein, Pamela Fraser, Liam Gillick, Helidon Gjergji, Michelle Grabner, Dylan Graham, Madeleine Grynsztejn, Sarah Guernsey, Terence Hannum, Anni Holm, Brian Holmes, Astrid Honold, Christopher Hudgens, Meg Onli, Amanda Browder, Tom Sanford, Duncan MacKenzie, Christian Kuras, Ben Tanner, Scott Hug, Richard Holland, Carol Jackson, Paddy Johnson, David Jones, Alex Jovanovic, Atsushi Kaga, Mark Staff Brandl, Vera Klement, Peter Saul, Gregory Knight, Monique Meloche, Leo Koenig, Chad Kouri, Steve Lacy, Caroline Picard, Jose Lerma, Laura Letinsky, Kerry James Marshall, Ed Marszewski, Eric May, Dominic Molon, Anne Elizabeth Moore, David Morgan, Julian Myers, Gavin Turk, Liz Nofziger, Jamisen Ogg, Neysa Page-Lieberman, Trevor Paglan, Raymond Pettibon, John Phillips, Allison Peters Quinn, Lane Relyea, Lawrence Rinder, David Robbins, Thomas Robertello, Julie Rodriguez Widholm, Elvia Rodriguez, Nathan Rogers-Madsen, James Rondeau, Marlene Russum Scott, Alison Ruttan, Dan S. Wang, Stephanie Smith, Deb Sokolow, Scott Speh, Chris Sperandio, Lisa Stone, Shannon Stratton, Randall Szott, Christine Tarkowski, Tony Tasset, Tracy Marie Taylor, Ron Terada, Philip von Zweck, Hamza Walker, Chris Walla, John Wanzel, Chris Ware, Oli Watt, Tony Wight, Anne Wilson, Jay Wolke, InCubate, Curtis Mann, Michael Velliquette, Clare Britt, Shannon Stratton, Damian Duffy, William Conger, M N Hutchinson, Mark Francis, Annika Marie, the artists of Blunt Art Text, and more.
The exhibition also features three related exhibition talks, all of which are free and open to the public. They’ll all be rebroadcast on upcoming episodes of Bad at Sports’ podcast, for those of you not able to catch the events in NYC.
Thursday, April 8, 6pm. On the eve of Deitch’s departure from New York, Carlo McCormick will talk to Jeffrey Deitch about his time and legacy as one of the most visible, dynamic and controversial players in the New York art world.
Wednesday April 28th, 6pm. Tom Sanford will moderate a panel of five other painters who will talk about painting, including: Kamrooz Aram, Holly Coulis, David Humphrey, Dike Blair and Deborah Kass.
Tuesday, May 18th, 6pm. Impractical Labor in Service of the Speculative Arts is a membership organization for those who make experimental or conceptual work with obsolete technology.
You can download the exhibition brochure, which features a conversation between co-founders Duncan MacKenzie and Richard Holland about the history of Bad at Sports, here.
Last but not least, the all-important details on the opening reception! This Wednesday night!
Don’t Piss on Me and Tell Me It’s Raining
Organized by Bad at Sports
Opening: Wednesday, April 7th 6-8pm
291 Church Street
New York, NY 10013