David Wojnarowicz, Americans Can’t Deal with Death (1990), via Art Observed

Few artists have managed to fly so consistently under the microscope of the art world’s fascination with downtown New York in the way that David Wojnarowicz has for so many years. Beginning in the late 1970s, the artist created a body of work that spanned photography, painting, music, film, sculpture, writing, and activism. Largely self-taught, he came to prominence in New York in the 1980s, a period marked by creative energy, financial precariousness, and profound cultural changes, yet his body of work has long been held off from the more hallmark names of the era in terms of impact and historical resonance.  This month, The Whitney seeks to remedy this situation, granting the artist his first major museum retrospective, and turning its focus on a body of work that has long shone brightly even away from the limelight. (more…)

The New Yorker has an interesting profile on David Wojnarowicz this week, as writer Rebecca Mead visits his personal archives with writer Olivia Laing, whose recent book chronicles loneliness and the lives of artists in New York,  “So much of my book is about gender, and frustrations of gender, and that desire to be an anonymous person in a city in a way that I think you only can if you are a man—and a woman never is, because a woman is always on some level a desirable or non-desirable sexual object,” Laing says. (more…)

David Wojnarowicz, Cal (Factory Face), 1984

The group show is an undeniable part of the New York art world’s summer repertoire, dabbling in different styles and scenes while blending together the works of artists ranging from the young to the historical, emerging to the iconic. Among the early entries into the spring group show calendar is Debris currently on view at James Fuentes Gallery in the Lower East Side. This show is packed with familiar, utilitarian, and recognizable objects, many of which can be easily found in the vibrantly fluid New York urban landscape. (more…)

March 5th ‘Spirituality” opening and installation view at P.P.O.W. All photos by Daniel Terna of Art Observed

This Saturday, P.P.O.W held the opening reception for their most recent exhibition: Spirituality, Works by David Wojnarowicz.  The show was curated almost as a retrospective, which included video pieces and a selection of personal letters written by the artist.  Work was displayed in all media, including sculptures, collage, photographs, and two videos.

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Paul Thek, Technological Reliquaries, 1964-66. Via Tumblr

The most surprising thing about Thek perhaps, was his age. Of Andy Warhol’s generation, he is more theoretically aligned with the sincere art of David Wojnarowicz, who was twenty odd years his junior. Diver: A Retrospective manages to be a comprehensive overview of his work and his position in art history as well as a heartfelt look at his life and continuing influence, despite the absence of many seminal pieces which are no longer in existence. Thek is certainly a case of an artist before his time and perhaps is one who is altogether difficult to categorize.

Paul Thek, Technological Reliquaries, 1964-66. Via Un Regard Lubrique

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Dara Friedman, Bim Bam, 1999, courtesy of the Whitney Museum of American Art.

Currently on view at the Whitney Museum of American Art is the first part of a two-part exhibition titled “Off The Wall.” The exhibition at large brings together thirty works from 1946 to the present involving performative actions and seven iconic works by Trisha Brown. Part one, “Thirty Performative Actions,” was curated by Chrissie Iles, the Whitney’s Anne and Joel Ehrenkrnaz curator and is scheduled to be on display until September 19th. Part two, “Seven Works by Trisha Brown,” will run from September 30^th to October 30^th. This section features the return of the Trisha Brown Dance Company to the Whitney. Many of Brown’s dances were performed at the museum in 1971, so in addition to the performances taking place in the fall there will be video footage of Trisha Brown’s past work.

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“Off The Wall” Opening at The Whitney Museum of American Art on June 30^th, 2010, photograph courtesy of Taylor Derwin.

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