The show is rich and deeply interesting, but as history it has problems.
The most obvious of them is factual. Of the original five “Pictures” artists, only four are acknowledged. No work by Mr. Smith is on view; his name is mentioned only once in the catalog. His portrait has effectively been removed from the hall of fame.
In this the Met has followed Mr. Crimp’s lead. In the October magazine version of his exhibition essay, he dropped the discussion of Mr. Smith and focused instead on Cindy Sherman, an artist who hadn’t been in the show. Such revisionism is, perhaps, a curator’s privilege but not a historian’s. In the interest of accuracy Mr. Smith should have been included in the Met show. As it is, his absence turns historical record into invention and suggests how exclusionary a “generational” history can be.
The show is based on several broader exclusions. One of the notable features of the “Pictures” group was the number of women it included, among them Ericka Beckman, Dara Birnbaum, Barbara Bloom, Sarah Charlesworth, Nancy Dwyer, Barbara Kruger, Louise Lawler, Laurie Simmons, Ms. Levine and Ms. Sherman.
Yet the Met show makes only cursory mention of the feminist movement and none at all of the presence of the Feminist Art Program at CalArts in the early 1970s, well known for its experiments with nontraditional mediums and for its critique of the representation of women in popular culture and in art.
Kudos to Cotter for bringing this to the fore. I assumed that he won the Pulitzer mostly for his feature-style criticism from China leading up to the Olympics, and this article works in the same vein. Cotter discusses two shows that he has already previously reviewed for the Times, and considers the ways in which exhibitions, rather than serving as objective truths, are involved in their own form of historical production and narrativization. In this sense it foregrounds the curatorial responsibility (and imperative) in establishing a context for making meaning.
The article compares the roles of history making in the Pictures Generation and the New Museum’s Younger than Jesus. Interestingly, the web version of the Cotter’s text is illustrated with Elad Lassry’s photographs, whose films I have written about previously. Although Lassry goes unmentioned in Cotter’s article, and his review of YTJ, it is an appropriate editorial decision as Lassry very deliberately engages the forms of production and aesthetic strategies laid out by Pictures artists, making explicit the connection between the two shows. In particular Lassry has a strong connection, even reconsideration, of Jack Goldstein’s motifs, buttressed by the work of Sarah Charlesworth and Dara Birnbaum and David Salle and James Welling. While I am obviously interested in Lassry’s work, I think it fares poorly in YTJ; a lot of this has to do with context and installation: his photographs are small and intensely formal, and in the slapdash cacophony of the third floor, they are almost easy to miss. The side gallery in which they hang is shared with Matt Keegan’s work, presumably because they both engage the Pictures legacy (Keegan with Barbara Kruger explicitly referenced), but it is to the detriment of Lassry’s presentation. Though I won’t go into it here, I had problems with the installation throughout YTJ.
UPDATE: Several weeks before Cotter or I wrote about this, Regina Hackett, also quoting CultureGrrl, posted about Smith’s exclusion. I had also read the AiA interview she cites, and it was influencing my thoughts, but I couldn’t remember the source of the “qualitative exclusion”. To reiterate, it seems like it would have been a minor thing to include Smith in such a sprawling show, and also satisfied historical accuracy.