Modern Painters | Summer 2009

"The Generational: Younger Than Jesus" at the New Museum
New York
April 8 – July 5

"The Generational: Younger Than Jesus," the New Museum’s inaugural triennial, presents work by 50 artists — yes, none older than 33 — from 25 countries. Yet the guiding spirit here is not the Son of God, but the similarly revered Matthew Barney. The elaborately constructed narratives that provided the framework for Barney’s five "Cremaster" films are clearly an influence for many in the show, which is not surprising, since Barney’s fame was at its height during the late ’90s and early naughts — the years when this group was at its most impressionable.

The lead Barney acolyte is Ryan Trecartin, whose videos feature labored, surreal story lines in which gender is a fluid construct, and which are screened in messy rooms arrayed with loosely related props. Perhaps because he so completely embodies this strain of artmaking, Trecartin is given pride of place. In fact, one of the most curious responses to YTJ has been the anointing of Trecartin as its "star." Why are critics swooning? This question is not rhetorical. During one visit, an audience consisting mainly of viewers decidedly older than Jesus looked morosely bored by Trecartin’s pieces, as though this YouTube shtick were nothing they’d not already seen before. Like most of the other work in the show, it’s of passing interest, but ultimately fails to engage. The videos are long and meandering and advance no specific argument (as with Barney, the gender-bending is a useful plot device that isn’t meant to carry any political weight) and despite all efforts to appear manic, via the quick edits and clown makeup, they register as overly controlled, even muted.

"Muted" may not be a bad way to describe the show overall, and it’s a depressing adjective when applied to a supposed showcase of tomorrow’s stars. YTJ suffers from the same mistakes that plague all biennials: too many works and no clear, cohesive theme. In the end, the vaguely risible title may be the most provocative element of an otherwise tame and totally forgettable show.

Modern Painters | Summer 2009

"The Generational: Younger Than Jesus" at the New Museum
New York
April 8 – July 5

"The Generational: Younger Than Jesus," the New Museum’s inaugural triennial, presents work by 50 artists — yes, none older than 33 — from 25 countries. Yet the guiding spirit here is not the Son of God, but the similarly revered Matthew Barney. The elaborately constructed narratives that provided the framework for Barney’s five "Cremaster" films are clearly an influence for many in the show, which is not surprising, since Barney’s fame was at its height during the late ’90s and early naughts — the years when this group was at its most impressionable.

The lead Barney acolyte is Ryan Trecartin, whose videos feature labored, surreal story lines in which gender is a fluid construct, and which are screened in messy rooms arrayed with loosely related props. Perhaps because he so completely embodies this strain of artmaking, Trecartin is given pride of place. In fact, one of the most curious responses to YTJ has been the anointing of Trecartin as its "star." Why are critics swooning? This question is not rhetorical. During one visit, an audience consisting mainly of viewers decidedly older than Jesus looked morosely bored by Trecartin’s pieces, as though this YouTube shtick were nothing they’d not already seen before. Like most of the other work in the show, it’s of passing interest, but ultimately fails to engage. The videos are long and meandering and advance no specific argument (as with Barney, the gender-bending is a useful plot device that isn’t meant to carry any political weight) and despite all efforts to appear manic, via the quick edits and clown makeup, they register as overly controlled, even muted.

"Muted" may not be a bad way to describe the show overall, and it’s a depressing adjective when applied to a supposed showcase of tomorrow’s stars. YTJ suffers from the same mistakes that plague all biennials: too many works and no clear, cohesive theme. In the end, the vaguely risible title may be the most provocative element of an otherwise tame and totally forgettable show.

Ryan Trecartin, still from "Re'Search Wait'S (Edit 1: Missing Re'Search Corruption Budget)" (2009). Video, 1 hr 8 min.