Kenny Schachter: Oy!•New York
For the past five years, I have been
organizing itinerant group exhibitions in and around the vicinity of Soho
periodically with foundations, not-for-profits or galleries. Working exclusively
with emerging, unrepresented artists, the shows have usually been defined
by a raucous, anything-goes, scabrous sensibility, albeit with uneven
results. When the shows have been orchestrated in uninhabited locales,
in most cases ground-floor spaces that I rent for periods of four to eight
weeks (as is the case with “Oy!”), they have been characterized
by a grassroots effort to communicate with as broad an audience as possible,
by keeping Korean grocery-store hours—seven days a week, 10 hours
per. As many galleries are fleeing tourist and shoe-shopper-laden Soho
for the more inaccessible reaches of Chelsea and beyond, these exhibitions
have continued to be staged where the largest concentration of people
will see them. I alone man the spaces, situated by the front door; it
has been said, like a gas-station attendant. The latest show, comprised
of 20 artists, highlights the best and worst of the enterprise. Beginning
with the latter, the core group of artists in the exposition, including
John LeKay, Rachel Harrison, Ricci Albenda, Jonathan Horowitz, and Robert
Chambers have remained the same throughout the duration of the shows.
Perhaps there is a reason that these particular artists have not become
affiliated with more traditional galleries over the years? Inadvertently,
these people have taken on the appearance of belonging to an exclusive
club. Early on, the shows were distinguished by the harsh, unruly, and
grating nature of the art; however, the early impertinence (in a good
sense) has been substituted with a facile nod to the marketplace, evidenced
by the abundance of tasteful paintings. In addition, in every show, for
better or worse, you can always count on finding a contribution from the
curator himself (it is clear this is the only way for my work to be seen)!
As to the good points of the show, compared to the rest of what is currently
on view in the neighborhood, this was by far among the most fresh. Yes,
there were even a few newcomers making their debut in this exhibition.
There was even an Internet piece (still accessible at www.dbn.com) where
one could learn more about the show and view inscriptions made by visitors
to the gallery, as well as input additions by visiting the above address.
In the end, there was a palpable sense of boundless energy, but also a
feeling that if I do not continue to innovate, my ongoing project will
become stale fast.
Kenny Schachter
New York, New York
1995