BUCKING THE ARTWORLD TIDE

A collection of critical essays takes on art world trends.

In this volume of essays that Kamhi describes as “both a prequel and a sequel” to her work Who Says That’s Art? (2014), she gathers assessments of the contemporary art world’s failings written over a span of more than three decades. The essays, many of which were previously published on the author’s blog or in Aristos, the journal she co-edits, include reviews of museum and gallery shows, critiques of education programs in public schools, and deep dives into the philosophical questions of how art is defined. Favorite pieces of art make appearances, as do works and artists that Kamhi holds up to withering criticism. She connects her views to Ayn Rand’s objectivism, with several of the essays exploring the philosophical underpinnings of art as humans have created and engaged with it since the days of cave paintings. Other offerings detail the author’s battles with educators, museum curators, and other figures of authority in the art world, bringing readers deep into her ongoing fight against mainstream critical opinions. The book’s tone is imperative and immediate throughout, and readers will be left with a clear sense of how and why art and the public’s understanding of it matter in the contemporary world. Detailed notes, including both citations and comments, are included in the backmatter.

Kamhi does not mince words (“One of the most absurd and destructive notions in today’s artworld is that of so-called ‘conceptual art’ ”). She is also clear in the definitions she applies throughout the volume (Richard Serra’s Tilted Arc, “like any abstract work—is not art, in part because it does not, indeed cannot, communicate, outside explication notwithstanding, fundamental human values, or ideas”), leaving readers with no doubts about her perspective. Even readers who disagree with the author’s take are likely to appreciate the book’s authoritative confidence and depth of knowledge as well as her strong and forcefully expressed feelings about the value and role of art. There are occasional shortcomings in that largely comprehensive knowledge (for instance, Kamhi misses relevant historical allusions when she dismisses Dread Scott’s protest art). But on the whole, the author has a solid command of her subject and is skilled at presenting analyses of a primarily visual form through text. (The book does not include illustrations; readers can find links to images of the art mentioned at mmkamhi.com.) Because the volume is a compilation of discrete pieces originally published in a variety of contexts over several decades, there are some repetitive elements. Careful readers will have no trouble keeping track of the artists Kamhi favors and despises, as they make many appearances throughout the text (“the vulgar triviality of Andy Warhol and Jeff Koons”). Although her contentions are not entirely persuasive to readers of different philosophical persuasions, they are solidly argued and thoughtfully presented. The collection’s eloquent prose and well-developed point of view make it a thought-provoking and often enjoyable read even for those who disagree. Kamhi’s passion for her subject is undeniable and makes even the more technical aspects of the work accessible.

An illuminating, strongly opinionated, and enthusiastically acerbic critique of today’s art world.