At Hyperallergic Weekend, John Yau starts a post about a visit to Louise Belcourt's Williamsburg studio with a mini-rant about curators, galleries and museums:
He's right to shift the onus onto curators rather than blaming artists for the market-driven phenomenon that has come to be known as zombie formalism. Yau concludes that visiting artists' studios is the only way to see the best paintings, most of which are not being shown in museum surveys because they don't suit collectors' (i.e. trustees') tastes.Despite the hue and cry about zombie formalism, there is a lot of very good painting going on these days. It is just that you haven’t seen much of it in MoMA or the Whitney in recent memory, and frankly you should not expect to. The apparatchiks are too busy either going to dinner with a trustee or documenting painting’s demise, as evidenced by their exhibitions of Elaine Sturtevant and Wade Guyton, to actually go out and discover that appropriation is not the only game in town, and has not been for a long time. Maybe the problem isn’t zombie formalism, but zombie curators.
Museum curators may be in thrall to Zombist collectors, but plenty of galleries mount shows that are more compelling than the overly-produced, hotly-traded, undead variety. Here are a few paintings that stand out this week.
[Image at top: Louise Belcourt, Mound 25, 2015, oil on canvas, 30 x 40 inches. Image courtesy of the artist.]