Tuesday, March 2, 2010

Why You Should Buy Art

I am back from New York, and this William Powhida print is one souvenir of a wonderful and art-filled trip. You can click on the image to enlarge.
(Actually, I bought the print online at Jen Beckman's "20x200" which is well worth a virtual visit, whether you can get to New York or not.)

I am an erratic blogger, and for that, I apologize. You'd think I'd have plenty to write about, having just spent the last week in New York, in the company of Our Montreal Correspondent. The problem is, I am slow thinker, and I need time to mull before I write...not a trait particularly well suited to the pace of the blogosphere.

While in NY, OMC and I visited the William Powhida and Jennifer Dalton event, "#class" at Winkleman Gallery, and participated in Saturday's Powhida-led "Art Walk" through a range of Chelsea galleries.

And since I am still mulling over that experience, for now I'll leave you with Eva Diaz's description and contextualization of the goings-on at #class, from Artforum:

"Mass education in the post–World War II period positioned pedagogy as a pivot between personal growth and wider sociopolitical transformation. Recent large-scale student protests against fee hikes and the profit-driven campus at the New School and throughout the University of California system can be seen as part of a larger reaction to how the prospect of education was subsequently instrumentalized as a consumer transaction. Similarly, a spate of artist collectives are reassessing how progressive pedagogical models can be employed as consciousness-raising tools. Joining related endeavors such as 16 Beaver, the Public School, e-flux’s Night School, and the Bruce High Quality Foundation University, artists William Powhida and Jennifer Dalton have created #class, a series of public workshops in a classroom setting that, in its eclectic sprawl, seeks to investigate the effects of the economic downturn on the field of art: on its production, reception, distribution, and consumption; on its educational institutions and its institutions of display.
The setup is simple: A room contains several worktables and chairs lined with four chalkboards. Dozens of programs and open-ended brainstorming sessions have been scheduled for the one-month duration of the exhibition, and the artists will be present on a daily basis to use the gallery as a studio space. The “curriculum” ranges from the intentionally hokey (motivational speakers promising to unleash “wild creativity”) to the near heretical (dealers guaranteeing to answer questions about the art market with complete transparency)."

You can follow the events for yourself, by visiting the #class blog, and Ed Winkleman's blog, where you'll find a link to a gallery cam running a continuous live feed during gallery hours.


  1. I love this, this is one of the issues i have been discussing in critical issues in art. Thank you x

  2. Glad you liked it. Please be sure to properly credit the artist, William Powhida, if you reference or reproduce this image for your class! I hope you'll take the time to follow up on the various links I've provided to #class...there will be plenty to think about and discuss with your fellow students over the next few weeks.

    (BTW, prints on the 20x200 site are very affordable, even for a student, and a great way to start collecting!)