What Will Art Look Like When We Re-Emerge From Isolation? – The New York Times,

What Will Art Look Like When We Re-Emerge From Isolation? – The New York Times,

Critic’s Notebook

The pandemic has not only shut down museums and galleries. It has canceled an entire way of life for contemporary artists – and forces a reconsideration of what all that flying was good for.

“City in the Sky” ( , an installation by Elmgreen & Dragset at Art Basel Hong Kong.

(March) ,

  • While reproductions can never make art truly accessible, I’m glad to see efforts to expand digital offerings are also underway, in both the for-profit and nonprofit sectors. Directors of museums in Italy’s hard-hit northwest, including the Pinacoteca di Brera

    and the Fondazione Prada, in Milan, and the Castello di Rivoli

    , in Turin have launched rough-and-ready virtual renderings or video walk-throughs of their shuttered exhibitions. New York museums with robust digital assets, from the Frick Collection in Manhattan to the Corning Museum of Glass upstate, have resurfaced their 3- D tours and video interviews, and new offerings are coming soon from, among others, the Museum of Modern Art. And the dealers who would have been in Hong Kong last week – bitter paradox: that city is probably safer now than the western art capitals – are selling their wares, or trying to, through Art Basel’s digital viewing rooms

    “ (Everything will be taken away) , ”forewarned the Berlin-based American artist Adrian Piper – who for years has repeated that aphorism, with the violent anonymity of the passive voice, on prints or mirrors or old -fashioned school blackboards. We are set to lose lives, careers, but also institutions, practices, traditions. Perhaps it’s best now, to reflect on what our present isolation teaches us about what art has become, and what we want it to look like when we re-emerge.

    Contemporary art, In the last few decades, has morphed into a round-the-globe, round-the-clock industry, and just as disruptive as the closure of our local museums has been the locking down of borders and the grounding of flights. The Romantic cliché of the artist as genius, carving beauty out of marble, was replaced by the artist (and later the curator) as traveling entertainer, constantly on the road. Its paradigmatic images come from a Swiss duo, Fischli / Weiss, whose “Airport” photographs

    , more than a thousand of them, picture the mundane departure halls and jet bridges they passed through for decades, en route to this biennial or that lecture. On Lufthansa or Air France, in a Japanese museum or an Australian converted loft, the artist is the person moving through neutral spaces, once thought of as sterile, now vessels of contamination.

    What Fischli / Weiss captured in “Airports” was the way the art world assigns relevance through motion, and how even local institutions conceive of themselves as nodes in a global network of images and objects on the move. (Think of the new MoMA: once a temple where you’d reliably see the same Picassos on the same walls, now a place where artworks shuttle back and forth, and no room is the same for long.) As the critic Kyle Chayka brilliantly observed in Frieze magazine, art used to justify itself with stories of historical progress, whereas now it relies on “constant juxtaposition against new people and places,” perpetually en route to no destination in particular.

    The rise of digital media did not arrest this globe-trotting but accelerated it. Now I can’t count the number of artists and writers I know who purported to be working from at least two places at once, “between Brussels and Los Angeles,” “between Berlin and Accra,” and who now have had hunker in place.

    Their patron saint, and mine, too, is the narrator of (“Flights” ( ), (a chain of related fragments by the Nobel-winning author Olga Tokarczuk , who tells us: “Fluidity, mobility, illusoriness – these are precisely the qualities that make us civilized.” For so many artists and critics and curators of my generation, your career has to fit in a carry-on.

    We knew, as the climate crisis deepened, that this global art world constantly on the move was coming under necessary pressure. Now the prophylactic stasis demanded by this pandemic has violently accelerated the art world’s reassessment of what all this travel was good for.

    The task of artists in this new plague year will be to reestablish painting, photography, performance and the rest as something that can still be charged with meaning, and still have global impact, even when we’re not in motion. Or at least that is the long-term mandate; the short-term task is to survive.






      Updated March 40, 170620635

                                                              How does coronavirus spread?                 

      It seems to spread very easily from person to person,

      especially in homes, hospitals and other confined spaces. The pathogen can be carried on tiny respiratory droplets that fall as they are coughed or sneezed out. It may also be transmitted when we touch a contaminated surface and then touch our face.


    Is there a vaccine yet?                 


    The first testing in humans of an experimental vaccine began in mid-March.

    Such rapid development of a potential vaccine is unprecedented, but even if it is proved safe and effective, it probably will not be available for to months.               

    Unlike the flu, there is no known treatment or vaccine, and (little is known about this particular virus so far.

    It seems to be more lethal than the flu, but the numbers are still uncertain. And it hits the elderly and those with underlying conditions – not just those with respiratory diseases – particularly hard.



    (If you’ve been exposed to the coronavirus or think you have, and have a fever or symptoms like a cough or difficulty breathing, call a doctor. They should give you advice on whether you should be tested, how to get tested, and how to seek medical treatment without potentially infecting or exposing others.


    If you’re sick and you think you’ve been exposed to the new coronavirus, the CDC recommends that you call your healthcare provider and explain your symptoms and fears. They will decide if you need to be tested. Keep in mind that there’s a chance – because of a lack of testing kits or because you’re asymptomatic, for instance – you won’t be able to get tested.



    If the family member does not need hospitalization and can be cared for at home, you should help him or her with basic needs and monitor the symptoms, while also keeping as much distance as possible, according to the guidelines issued by the CDC If there’s space, the sick family member should stay in a separate room and use a separate bathroom. If masks are available, both the sick person and the caregiver should wear them when the caregiver enters the room. Make sure not to share any dishes or other household items and to regularly clean surfaces like counters, doorknobs, toilets and tables. Don’t forget to wash your hands frequently.


    No. Unless you’re already infected, or caring for someone who is, a face mask (is not recommended.) And And stockpiling them will make it harder for nurses and other workers to access the resources they need to help on the front lines.



    Plan two weeks of meals if possible. But people should not hoard food or supplies. Despite the empty shelves, the supply chain remains strong. And And remember to wipe the handle of the grocery cart with a disinfecting wipe and wash your hands as soon as you get home.



    Yes, but make sure you keep six feet of distance between you and people who don’t live in your home. Even if you just hang out in a park, rather than go for a jog or a walk, getting some fresh air, and hopefully sunshine , is a good idea.


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