Roger White, a painter and cofounder of the art journal Paper Monument, is well positioned to tackle the contemporary art world in "all of its exhilarating, self-contradictory sprawl." The six chapters of The Contemporaries "echo, amplify, and argue with one another." As a result, we're given an articulate and smart take on the recent history of art-making and a glimpse at where it might take us.
White notes that around the turn of the millennium, contemporary art was exploding in all kinds of directions, only to fall into hard times a few years later. In an effort to learn more, he goes to the prestigious Rhode Island School of Design to see firsthand the economics and value of young artists who pursue an MFA degree. In New York, he visits studio artists (the sort that have been around since the Renaissance) who work hard to produce a "master's" work. This includes the studio of the "widely successful multimedia artist" Jeff Koons, one of the biggest employers of studio assistants in New York. In Milwaukee, Wis., he investigates the "politics of localism in contemporary art" in an environment far more affordable than the major art cities.
White then focuses on the works of three artists. The painter Dana Schutz is one of the most celebrated in recent years. Her oil painting Sneeze--a depiction of a woman expelling a stream of mucousy paint out of her upturned, slightly piggy nose--fetched $245,000 in 2002. Schutz's work addresses the question of how painting, the most traditional of artistic media, can "represent current events in the age of digital communication." White calls Mary Walling Blackburn's work "uncategorizable." Comprising performance, video, sculpture and dance, her artwork directly challenges its audience. Her 2011 installation piece Library for (the land of f**k) was a crude, A-frame, pup-tent-like shelter, in which she read from various works (the Bible, Kafka); patrons could stop by and ask her questions via a microphone. White ends with Stephen Kaltenbach, a once-popular conceptual artist known for his "time capsules," who left the art world in 1970 to teach at California State University, Sacramento. He returned 35 years later to become a very "regional artist," focusing on lush paintings and decorative public sculptures.
Love it or leave it, much of contemporary art is in the eye of the beholder--what you bring to it is what you leave with. White's honest, unflinching portrait of this scene, arguments and all, will help inquiring minds trying to decide if it's for them. --Tom Lavoie, former publisher
Shelf Talker: An insider offers an informative and sprightly assessment of how contemporary artists try to become successful and where the art world is headed.