Dinner with Paul Cadmus in the Village. He showed me a hundred drawings or more; the nakedest and least disinterested are the best, particularly those of Jared French. Until lately they have shared this apartment, an oddly un-American interior; good shabby antiques; a quantity of books and music, charming evidence of self-education. Late in the evening a youth named Lloyd Goff, who was Paul’s assistant, wandered in, at his ease, sleepy, perhaps tipsy. Soon he threw himself on the couch and fell asleep… Paul and I talked and talked, reminiscence and theory, in that particular mood of ours, or of his: smiling relaxation, solemn boyish idealism, who knows what else…
Goff then woke up and undertook to say goodnight, but the next thing I knew, there he lay again, sprawled face down on another couch, his clothes all drawn on the bias and tight upon his very fine little back and buttocks. At last I gave up whatever impulse it was that had kept me so late. Paul fondly accompanied me to the subway. Perhaps, he said, he would make a drawing or two before he went to bed; our talk had been so stimulating, and a sleeping model suits him… — Glenway Westcott, 1937*
Falling between last year’s Nick Mauss: Transmissions at the Whitney and next month’s Lincoln Kirstein’s Modern at MOMA, THE YOUNG AND EVIL—curated by Jarrett Earnest at DavidZwirner—looks at the between-the-wars Neorealist-Romantic circles around the artists Jared French, his lover Paul Cadmus, his wife Margaret Hoening French (collectively known as PaJaMa), Cadmus’ sister Fidelma—who was married to Kirstein—Bernard Perlin, Pavel Tchelitchew, George Tooker, and Jensen Yow.
Taking its title from the 1933 collaborative novel by art critic Parker Tyler and poet Charles Henri Ford (Tchelitchew’s lover), the exhbition features never-before-exhibited photographs—many from the Kinsey Institute—rarely seen major paintings, sculptures, drawings, and ephemera of this American Bloomsbury, which included Katherine Anne Porter and the ménage à trois of writer Glenway Westcott, publisher Monroe Wheeler, and George Platt Lynes, who photographed (and often modeled for) them all.
THE YOUNG AND EVIL exhibition catalogue will be published later this year by David Zwirner Books, featuring new scholarship by Ann Reynolds and Kenneth E. Silver.
“For Ralph Lemon, evasion and erasure are counterintuitive; they mark history’s traces and court the past’s return. History—with its discrete epochs, nameable masses, and willful actors—is neither salve nor refuge for those who lie beyond its rules.” — Thomas J. Lax, “For Starters”
Artforum editor-in-chief David Velasco will present the choreographer, dancer, writer, and visual artist Ralph Lemon in the last of this year’s graduate art seminars at ArtCenter.
“In 1985, the Village Voice offered me a job as senior art critic. This made my life easier and lousy at the same time. I now had to actually enter all those galleries instead of peeking in the windows.” — Gary Indiana, Vile Days
Indiana’s art reviews for the Voice—collected and republished as Vile Days: The Village Voice Art Columns, 1985–1988—combine “his novelistic and theatrical gifts with a startling political acumen to assess art and the unruly environments that give it context.”
Indiana will give this week’s graduate art lecture at ArtCenter’s Hillside Campus.
In mid-January he will read from Vile Days and present the Michael Haneke film Happy End (2017) at a Hard to Read event in West Hollywood.