Loren Munk’s time charts applicable and parody Alfred H. Barr, Jr’s well-known diagrams tracing the evolution of recent artwork. And his depictions of varied postmodern faculties of portray reveal the complexity of current New York artwork historical past.
Loren Munk, “SOHO Map” (2005-2006), oil on linen, 60 x 72 inches (all photographs courtesy the artist)

Loren Munk’s time charts applicable and parody Alfred H. Barr, Jr’s well-known diagrams tracing the evolution of recent artwork. And his depictions of varied postmodern faculties of portray reveal the complexity of current New York artwork historical past.

What most pursuits me, nonetheless, are his map work, which current the areas of galleries and artists’ studios in a selected time and place. In “SOHO Map” (2004–06), gallery names and addresses, painted in multicolored textual content containers, are organized in three columns on the left, whereas the artists’ lofts, listed in lozenge-shaped configurations in shades of brown, circle round three sides of the map, with impossibly tangled, overlapping traces pointing to their websites on the map. And on the very heart, a multi-faceted star marks 420 West Broadway, the previous website of the Leo Castelli Gallery, then essentially the most influential participant within the artwork world.

The mapped streets are all however obscured on this densely laid out picture, which jogs my memory just a little of one other city picture of visible overload, the Tokyo subway map. The tangle of traces is a reminder of what number of galleries and artists there as soon as had been in Soho. No doubt there have been far too many for various to prosper and even survive. And there have been far too many to readily go to.

Loren Munk’s time charts applicable and parody Alfred H. Barr, Jr’s well-known diagrams tracing the evolution of recent artwork. And his depictions of varied postmodern faculties of portray reveal the complexity of current New York artwork historical past.
Loren Munk, “SOHO Map” (2005-2006, element), oil on linen, 60 x 72 inches

For some years I’ve been writing a guide concerning the artwork within the historic heart of Naples. And so I’m fascinated by Didier Barra’s Bird’s-Eye View of Naples” (1647), a big map-like portray within the Certosa e Museo di San Martino, a former monastery in Naples, which reveals the town from excessive above the bay. In the guide Fierce Reality: Italian Masters from Seventeenth Century Naples (edited by Thomas J. Loughman, Skira, 2007), Frederica De Rosa writes:

What is distinctive about this work is the precision with which the small print are proven: the dense labyrinth of palazzi and metropolis partitions emerges from a succession of brush strokes utilizing white lead, which gave the artist the potential for recreating areas of sunshine and shadow within the slim grid of streets operating via the town.

In the portray, what’s now the vacationer artwork heart is sort of solely seen. The vista is similar one which modern-day vacationers see as planes departing from the Naples airport soar low over the town. For that purpose it’s exhausting to think about how miraculous this portray should have appeared when solely birds had such vantage factors. There’s nothing equally miraculous about Munk’s “Soho,” if solely as a result of these days we’re accustomed to such aerial views.

An art work and a map can look comparable, however we usually distinguish between artworks like Barra’s, which encourage a contemplative response, and maps, that are merely utilitarian instruments. By being a map-like art work, and together with so many written names, Munk’s “SOHO Map” deconstructs that distinction. When you stroll in Naples, you utilize the maps in guidebooks to find the town’s treasures. Bird’s-Eye View of Naples,” which was primarily based upon engravings by cartographers, presents a painter’s fanciful interpretation of the visible info. And “SOHO Map” attracts upon Munk’s huge assortment of art-world memorabilia, complementing the movies he makes as his alter-ego, James Kalm, the proprietor of The Kalm Report, which doc openings, gallery visits, and different occasions.

Loren Munk’s time charts applicable and parody Alfred H. Barr, Jr’s well-known diagrams tracing the evolution of recent artwork. And his depictions of varied postmodern faculties of portray reveal the complexity of current New York artwork historical past.
Loren Munk, “SOHO Map” (2005-2006, element), oil on linen, 60 x 72 inches

It could possibly be argued that his physique of labor, in its relentless protection of creative invention in New York’s founts of creativity — the East Village, Chelsea, the Bowery, Bushwick, and elsewhere — additionally deserves comparability with different works depicting artwork’s making: Diego Velázquez’s “Las Meninas” (1656), which features a cameo of himself earlier than a big canvas; and Federico Fellini’s eight ½ (1963) and Hirokazu Kore-eda’s The Truth (2019), movies concerning the making of movies.

And since Munk maps the up to date show system of artwork, it might be marvelous to match “SOHO Map” to such different precedents as Hubert Robert’s “Imaginary View of the Grande Galerie of the Louvre in Ruins” (1796); Samuel F. B. Morse’s “Gallery of the Louvre” (1831-33), which depicts a room densely hung with photos; ; and Mark Tansey’s “The Occupation” (1984), a fantasy picture of Soho occupied by German troops, satirizing the inflow of German Neo-Expressionists into the artwork market on the time he made the portray. And after all dialogue ought to think about Thomas Struth’s images of individuals artwork, like “The Museum of Modern Art / New York” (1994). Unlike these photographs, “SOHO Map” doesn’t take you inside the locations the place artwork is displayed; it merely factors you of their route, in the event that they certainly nonetheless exist.

Compared with these grand works “SOHO Map” is admittedly funky, and due to this fact well-suited to symbolize the positioning the place a lot funky artwork was on show as soon as upon a time. And simply as I take pleasure in now a copy of Barra’s Bird’s-Eye View of Naples” as a result of it takes me again to my walks in that metropolis, “SOHO Map” conjures up pleasurable reminiscences as nicely. I recall climbing the celebs to the gallery 55 Mercer; getting into Mary Boone’s at 417 West Broadway; and strolling into Deitch Projects on Grand Street, to call simply three of many. And I bear in mind the lofts of the artists Stewart Hitch and Thornton Willis on Mercer Street.

Other individuals certainly have a lot fuller reminiscences. An astonishing essay by Jerry Saltz, “A Year in the Life: Tropic of Painting” (Art in America, October 1994) tracks 610 exhibitions within the 1993-94 season. His stamina is admirable, however I’ve by no means had both the time or the need to be that systematic. Although I definitely frequented the best-known areas, I at all times had a particular fascination with hole-in-the wall websites. I didn’t love a lot of the particular person exhibitions or galleries. And it might be sheer, willful Romanticism to not acknowledge that the rise and fall of Soho largely depended upon actual property hypothesis. But “SOHO Map” presents a visible file of that densely peopled artwork world — what number of different artists aspired to be acknowledged!

Although I’ve identified of Munk’s works for a few years, solely lately did I understand why my current response to a few of his map-paintings is now so intense. When he calls up reminiscences of a world that has now been gentrified away, he conjures up advanced emotions about loss and even remorse. Soho has lengthy been gone, the galleries that survived decamped to Chelsea and east of the Bowery. But proper now I worry that a big a part of the entire gallery system dedicated to up to date artwork is about to vanish. For nearly 40 years, I liked the problem of writing criticism, principally about artwork in New York. But that interval, I now count on, has nearly ended. What will the lifetime of our new artwork be like?