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No way around it: although, there are aspects of it that remain seductive.
For instance, Jerry Saltz likes the youngsters and the redemptive aura of their frenetic tendencies: “‘Younger Than Jesus’ indicates that the alchemical essence known as the sublime, the primal buzz of it all, is no longer in God or nature or abstraction. These young artists show us that the sublime has moved into us, that we are the sublime; life, not art, has become so real that it’s almost unreal. Art is being reanimated by a sense of necessity, free of ideology or the compulsion to illustrate theory. Art is breaking free. Even the New Museum itself, founded in 1977, is “younger than Jesus.” Since it reopened in December 2007, it’s become, despite its clinical spaces and a couple of misfires, the most consistently challenging, polemical art institution in the city. It, like the art in this show and everywhere, is being reborn.’
-taken from ‘Jesus’ Saves: God bless the New Museum’s tantalizing triennial. By Jerry Saltz Published Apr 9, 2009

[post prompted by conversation with Daniel Miller]

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