{"id":39742,"date":"2012-10-10T02:00:55","date_gmt":"2012-10-10T06:00:55","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=39742"},"modified":"2013-06-27T13:13:50","modified_gmt":"2013-06-27T17:13:50","slug":"crossroads-of-the-art-world","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2012\/10\/10\/crossroads-of-the-art-world\/","title":{"rendered":"Crossroads of the (Art) World"},"content":{"rendered":"
\"\"<\/a>

Views of the Time Square Show (organized by Colab), 1980. Photo collage by Terise Slotkin<\/p><\/div>\n

At what date on the calendar, at what precise location, did counterculture become pop culture? And who do we mark down in the history books as the hero, or the villain, who masterminded the switch? There is an answer: \u201cThe Times Square Show.\u201d In June of 1980, more than a hundred artists, under the auspice and directed by the vision of Colab (Collaborative Projects), took over a four-story building on Forty-first Street and Seventh Avenue and mounted a two-month exhibition. There were big names: Tom Otterness, Jean-Michel Basquiat, Kiki Smith, Jenny Holzer, Kenny Scharf, Nan Goldin. But, already, this is a wrong turn; the notion of individual heroism, of the creative ego that strives for and achieves recognition\u2014in other words, a modernist view of the artist\u2014is an anachronistic way to view \u201cThe Times Square Show.\u201d<\/p>\n

\"\"<\/a>

Time Square Show (organized by Colab), map of the first and second floors with list of participating artists. Floor plan by Tom Otterness, notations by John Ahearn<\/p><\/div>\n

The idea behind \u201cThe Times Square Show\u201d was different: a collaborative, self-curated, self-generated group show that transcended trappings of class and cultures. As John Ahearn, a Colab initiator who spotted the location on a Times Square jaunt with Tom Otterness, told the East Village Eye<\/em>, \u201cTimes Square is a crossroads. A lot of different kinds of people come through here. There is a broad spectrum, and we are trying to communicate with society at large.\u201d Ahearn went on to tell the Eye<\/em>, \u201cThere has always been a misdirected consciousness that art belongs to a certain class or intelligence. This show proves there are no classes in art, no differentiation.\u201d<\/p>\n

<\/p>\n

\"\"<\/a>

Becky Howland, Oil Rig Fountain<\/em>, 1980. Installation view in the men's room, Times Square. Also visible: Atomic Graffiti<\/em> by Mitch Corber and Fruit<\/em> (upper right) by Joe Fyfe. \u00a9 Terise Slotkin Photography.<\/p><\/div>\n

In that respect\u2014a high\/low cultural mashup that garnered big attention\u2014the show was successful, drawing praise from the orthodoxy (Art in America<\/em>, The New York Times<\/em>, Artforum<\/em>) for an artistic movement that had, until then, been relegated to the outskirts. It was four floors of divine chaos: bags of money in the toilets; rats, money, and guns wallpaper; strap-ons, sex dolls, graffiti; rags and garbage; and no white walls. That the art was for sale, that this was indeed some kind of gallery event, was itself in quotations. The show was intended to give testimony and evidence to a greater truth: the lunatics ran a better asylum.<\/p>\n

Carlo McCormick\u2014curating 2006\u2019s \u201cThe Downtown Show\u201d at NYU\u2019s Grey Art Gallery\u2014sets the scene: \u201c1979 is the axis \u2026 Colab is coming together, Punk is exploding, the club scene is taking on a life of its own, and the alternative spaces are at their apogee.\u201d Times Square, likewise, was in transition. The city was taking its first steps to clean up the red-light district of the nation. What\u2019s at the crossroads of Forty-first and Seventh now? A marvelous triumvirate composed of Red Lobster, Ruby Tuesday\u2019s, and Office Depot. At the precise location of \u201cThe Times Square Show\u201d one today finds a forty-story skyscraper, glass and steel. And even the new Times Square\u2014no hookers, no clubs, no Playland, no guerrilla art\u2014is not long for this world. To wander Times Square in its present incarnation\u2014giant models marketing duds to malls in China\u2014you might not guess that it isn\u2019t yet quite corporate\/tourist friendly enough. But it isn\u2019t: hence the redesign, which is already underway. The forty-five-million budget will tile the entire area in mauve stone, create additional venues for advertising, and generally make over and spruce up New York City. The redesign is sleek, modern, almost Scandinavian in its aesthetic, which isn\u2019t too surprising, since the architecture firm working on the project is in fact Norwegian.<\/p>\n

\"\"<\/a>

Christy Rupp, Rat Patrol<\/em>, 1979, offset print, 5 \u00bd x 17 \u00bd". Courtesy of the artist.<\/p><\/div>\n

On exhibit at Hunter College until December 8, \u201cThe Times Square Show Revisited<\/a>\u201d displays a small selection of original works and, perhaps more importantly, offers a wealth of video and still archives.\u00a0Events through November include a discussion on the influence of \u201cThe Times Square Show\u201d with several of the original event architects\u2014Charlie Ahearn, Diego Cortez, Jane Dickson, and Robin Winters\u2014and screenings of short and feature films by Rudolph Burckhardt, Anthony Muntadas, Branda Miller, and Wes Craven.<\/p>\n

\"\"<\/a>

Jenny Holzer, Living: Many dogs run wild in the city\u2026<\/em>, 1981, enamel on metal sign, 21 x 23 in.; Living: Little Queenie\u2026<\/em>, 1981, enamel on metal sign, 21 x 23 in. \u00a91981 Jenny Holzer, member Artists Rights Society (ARS), NY.<\/p><\/div>\n

The moving-image archive on daily exhibit includes a full walking tour of the 1980 installation (audio provided by Andrea Callard), and upwards of six hours of audio and film and video works and documentation. Despite challenging obstacles\u2014presenting the material in a small space (with white walls, anathema to the Colab intent), reassembling original works (gallerists swooped in like vultures when the original show came down, and many of the pieces were installation works, and inseparable from the site)\u2014the curation by Shawna Cooper and Karli Wurzelbacher affords viewers a full and contextualized experience. Thirty-two years later, the revisitation is something of a miracle, and if you missed the original incarnation, this may be as close as you\u2019ll get to it. Perhaps only an academic institution could present this balanced a look\u2014there may yet be a bigger<\/em> retrospective\u2014but the larger the museum, one imagines the more viewers will have to contend with the schmaltzy, prescribed visions of art, tragic egos, etc., mandated by corporate media. Richard Goldstein of the Village Voice<\/em> hailed \u201cThe Times Square Show\u201d as \u201cthe First Radical Art Show of the \u201980s,\u201d and Lucy Lippard, in her hesitating appraisal in Artforum<\/em>, conceded, \u201cthe show did successfully appeal to a fairly varied audience\u2014locals as well as disillusioned sophisticates, cynical radicals and chic seekers. This accomplishment can\u2019t be underestimated.\u201d Alas, the very qualities that made \u201cThe Times Square Show\u201d vibrant and radical\u2014the accessibility, the disregard for convention and conventional categorization\u2014made the overall aesthetic woefully easy to co-opt, which, for that matter, was true of the entire arts explosion of the East Village and the New York collective arts movement of the late seventies and early eighties. Wrote Goldstein in the Voice<\/em>: \u201cThere is a vague foreboding among the artists in the Times Square Show, a sense \u2026 that \u2018we\u2019re caught up in a big game plan\u2019 \u2026 The trompe l\u2019oiel <\/em>approach to urban renewal might mean replacing the real thing with its representation, the real pornography with art about porn.\u201d Jeffrey Deitch, in Art in America<\/em>, teetered on the brink of giving big money explicit instructions: \u201cArt must come to be marketed with the kind of imagination displayed by this exhibition\u2019s organizers\u2014not simply in order to reach the general public, but to cut through the glut of mediocre material and touch the art audience itself.\u201d<\/p>\n

\"\"<\/a>

Coleen Fitzgibbon and Robin Winters, Gun, Money Plate Wallpaper<\/em>, 1980. Photo by James Dee. <\/p><\/div>\n

While focusing on the heroes is a fundamentally wrong approach to a history of collective art, we have nonetheless collectively embarked on a brash course of canonizing the select, and bunkifying history to match. Keith Haring is a good example (in part because he wasn\u2019t there to correct the record) of how artists are singled out and retrofit onto a time line. You\u2019re likely to hear this: Keith Haring was a brilliant graffiti artist who detonated onto the arts scene. In fact, Haring (as he describes it in an archived audio interview at \u201cThe Times Square Show Revisited\u201d) was responding<\/em> to an increasingly sophisticated graffiti culture, and his stripped-down cartoon line was an iteration of an East Village trope. Even the iconography of the period was shared; it\u2019s in Christy Rupp\u2019s 1979 shows \u201cAnimals in the City\u201d and \u201cThe Dog Show\u201d that we see the origins of Haring\u2019s barking dog. In 1980, Haring was twenty-two, and his participation in \u201cThe Times Square Show\u201d was peripheral (as was Jean-Michel Basquiat\u2019s, then known as SAMO, who was eighteen and offered the show what is believed to be his first painting on canvas). Haring\u2019s major unveiling wouldn\u2019t come until 1986, when Absolut Haring<\/a>, an advertising campaign for the vodka, was exhibited at the Whitney Museum. By that time, the East Village scene\u2014crashing, screaming, and shaking just a few years before\u2014was settling into rigor mortis. The uptown galleries, realizing the revolution was underway, had moved their galleries to SoHo, mined the artists they thought they could transition to a market, or \u201cmerch,\u201d infrastructure, and gone to war on the progenitors of the East Village.<\/p>\n

\"\"<\/a>

Tom Otterness, Symbolic Anatomy<\/em>, 1980, painted plaster, 22 x 9 x 6 in. \u00a9 Tom Otterness Studio.<\/p><\/div>\n

With AIDS <\/small>decimating the creative landscape, there was hardly a fight. The loss of a collectivized concept of art\u2014at least as a mainstream process\u2014is powerfully felt in the isolation of present-day artists, who for the most part are more willing to identify with previous generations than their own peers. It is a great victory for consumerism that even the most radical among us have chosen to filter ourselves through arts that have been authorized by corporate distribution. Christy Rupp\u2019s 1979 \u201cReal Estate Show,\u201d which commandeered an abandoned building, set the stage for \u201cThe Times Square Show,\u201d which commandeered the public perception of culture, which was in turn commandeered by material culture. While one might celebrate \u201cThe Times Square Show\u201d as the pinnacle of postmodernism (meaning to say, a collective experience of modernism), one might also mourn the beginning of the end, an explanation of the future of arts that could be readily adopted by, for example, MTV, just three blocks uptown. It\u2019s tempting to assert \u201cThe Times Square Show\u201d was the Occupy movement on a smaller stage; even if there isn\u2019t a direct line of descent, there is the indirect relation\u2014from a collective theory of counterculture, to a collective theory of pop culture, back to a collective theory of counterculture. From Forty-second Street to Wall Street and beyond. Moreover, it is in the retaking, the rediscovery of cultural occupation, that change can make its most powerful argument. \t<\/p>\n

To be an artist is to fail; it is to push to the limit of what is possible\u2014psychologically, cognitively, visually, linguistically\u2014and then to push beyond. That \u201cThe Times Square Show\u201d has drifted slowly and inevitably into history\u2014a history remembered at the margins, remembered in, for example, Alan Moore\u2019s comprehensive chronicle Art Gangs<\/em>, or \u201cThe Downtown Show\u201d at NYU, or Colab\u2019s retrospective at the Chelsea bookstore Printed Matter\u2014is unsurprising. And it is unsurprising that I have failed here to give due credit, that I was too perplexed to mention much of anyone\u2014how does one give credit to every one of more than a hundred artists? (My own mother is among them; Judy Rifka! as people said back then.) But there is one grand surprise, one great lesson of \u201cThe Times Square Show,\u201d and it is this: What? What? You tell me. Come here. What do you have in your pocket? What do you have in your wallet?<\/p>\n

John Reed is the author of four novels. He lives in New York. <\/em><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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