review as dialogue: Sf chronicle art critic charles desmarais in conversation with gallery 16 owner, griff williams

On February 24, 2016, Glossary magazine attended a talk with Charles Desmarais, the art critic for the SF Chronicle, and Griff Williams, founder/curator/publisher at Gallery 16. This is the second in our editorial platform, Review as Dialog, filling a need to archive public art discussions.
 
Afterward, Williams pointed out that when Desmarais was hired, there was a lot of backlash/outcry. This talk that took place last night was a missed opportunity for some; Williams was hoping that it would create a forum for people to come and really lay into Desmarais about the issues that concern them, be his appointment or other writing issues. There was even a Chronicle rep on hand . . . Yet, Glossary counted its peers on one hand: a couple of artists, two gallery directors, three PR folks and TWO fellow writers. TWO. At one point in the discussion, Desmarais mentioned the names of a few writers that he looks up to, that he reads. None of them are Bay Area writers.

​Some Bay Area art writers are: Maria Porges, Glen Helfand, Christian Frock, Sara Hotchkiss, Dewitt Chang, John Held, Jeanne Gerrity, Monica Weston, Sarah Burke, me, Zachary Royer Schulz, Sura Wood, Emily Holmes, Dorothy Santos, Aaron Harbour—that is already more than one dozen Bay Area Writers [do we need a coalition?]. It would behoove Desmarais to read his peers—that’s who we are—not competition, but part of that collective voice that the Bay Area fails to recognize when they say things like, “We need more writing.” Writers, Glossary thanks you! 

When Desmarais was hired, a lot of Glossary’s peers and colleagues took particular issue with the fact that the Chronicle seemed to just replace one privileged white guy with another privileged white guy. One argument stated that by doing so, the Chronicle is perpetuating a male-centric criticism hierarchy by not considering writers of color, women or queer writers. Although Glossary does not know anyone who knows which writers were in consideration, the rumor is that none were—he was already chosen. They do have diverse freelance writers, but the contention was with the one full-time staff position. One that perhaps to some defines the whole city's art scene.

But let us not forget—the SF Chronicle is not a civic or public institution; it is a private newspaper—just like the New York Times or the LA Times and others—they too are not city-run or funded organizations. Yet sadly, in the eyes of readers, and some galleries and artists these papers with city titles seem to subliminally hold a pretty high status as the voices of a city. It is perceived as a precious top-down entity that is pressured to bear all the weight of the artworld, and to speak for the city’s art scene inclusively as a whole. Moreover, with this perceived pinnacle status comes with a huge responsibility, and a weight of demands and expectations that frankly is impossible to fill.

They simply cannot please all of the people all of the time, and that is why a variety of art publications and voices in the arts is vital to keeping the Bay Area the place that we love. Furthermore, they certainly can’t afford to staff more writers to cover more content—the truth of the matter is: there is too much to cover each week. We know this just by the sheer number of press releases we receive each month; Glossary’s mailbox usually receives 20 to 65 press releases.

​But should that entire burden be expected of the Chronicle? Does that mean they should cover everything? The sensible answer is no. We need many voices, not more voices or one different voice under one publication—but just a lot of us writing, talking, looking and loving art and its meaning.

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Glossary feverishly took notes at the talk to share with you, dear readers and art lovers. Notes were taken in-situ, and are not literal transcriptions of neither audio nor direct quotes, but rather points that were touched upon. Certain key word choices and diction has been retained to accurately reflect the tone and sentiment of the discussion.

Griff Williams
When Charles was appointed I asked him to dinner . . . anyone who leaves the position of president of anything, well, you have a lot of questions. I’d like to ask you what is the state of art writing and what you are intending with your new position. The Observer posted an article in 2013, noting that there are less than 10 full time art critics employed by United States newspapers.  On the other hand, there is more “vernacular” criticism, webs and alternatives. It is the salaried positions that are dying out. The state of the newspaper is in debate, parallel to vernacular criticism. Serous criticism is on the decline.
Charles Desmarais
[Bristles in defense of/support of serious vernacular criticism] It’s not the same issue. There are many people who don’t have the opportunity for a full-time position, and I feel privileged to do that. The Chronicle has created a strategy for survival. Newspapers need new ways to communicate. Few people have papers delivered to their front doors and it is likely completely going away in the very near future. Online is the direction it is going. What is the Chronicle doing to compete with other online publications, such as the New York Times? We need to be more local. The Times are not going to cover the local culture the way we do. We have a footing here. I consider my job an advocate for you. My love for art can be a guide as an analyst.
GW
Journalism? News or criticism?
CD
There is a journalistic side, but there is a critical side as well. Firstly, I get to choose what I write about [so in that sense he is a critic, and not a journalist given assignments]. And what the Chronicle does is different than something like Artforum, because we are a daily newspaper. I consider myself an advocate for the art scene.
GW
As a painter, I think about my viewer, the image and who the audience is. Who is your audience? Are you seen in the context of championing art? There is the challenge of advertising that might sway who you write about, also.
CD 
My reader is a broad audience. But I don’t want to talk down to them either, that would be insulting. Sometimes I need to include a sentence or two about something for people who are not deeply educated about art—I should write about the things that perhaps people who would not normally be exposed to art, will be exposed to it in the writing. I want to advocate for art. For example, I am writing a piece on Kadist for this Saturday—it is a little known space in the Mission and this will be the first time that I write about race. [He is casting a wide net for launching his position as the new critic, and writing about a variety of genre, eras, places and issues.]
GW
How do you pick what you write about?
CD
What excites me. There are things that you know you have to include, certain shows—such as the Pierre Bonnard at the Legion of Honor. To not include it would be ignorant.
GW
For better or for worse?
CD
Museums are not always pushing the envelope when it comes to installation or scholarship and this exceeded my expectations so I wanted to write about it.
GW
Because of your background in museums?
CD
At first I thought that my background might be a disadvantage with my writing . . . so many people I know in high places and in the museum world—I didn’t want to offend them. But you know what, I don’t need to worry about that anymore, because the truth is I am not beholden to you anymore!
GW
 Do you have a responsibility to demystify the artworld?
CD
 Over time my observations based on my past experiences will come through in the writing.
GW
To some art is impenetrable. For those who don’t work in it, it can be alienating. People peer in these windows all the time and never come inside. So demystifying might have a place, particularly a newspaper, giving transparency of the artworld.
CD
Well, somewhere along the way someone decided that criticism had to be boring. [elitist, academic writing] I am still finding my voice. (He jokes) “Please tell me if I’m boring.” [Perhaps Williams was getting at the notion that a writer might consider educating people about the fact that art is not scary, while Desmarais seemed to interpret the question in terms of the kind of language that is used to talk about art].
GW
How to you find your way—what radar are you using to make your decisions?
CD
Well, to be honest I’m checking off boxes to a certain degree. For example with Kadist, they are under the radar and the artist is amazing, and I have never written about race . . . I want to give people a sense of what is going on with the artist’s work and at Kadist. There are a series of things that I want to touch on at the beginning of my career and I am going down the list. It might come across like I am mixing it up a bit right now.
GW
 Hitting the pavement is important. After doing this for 25 years I can say that we are in one of the most exciting times right now. Artists are doing new things galleries are popping up. It’s important to get familiar with your community.
CD
Yes, it’s a very exciting time. I go to way more shows than I end up writing about. People complain to me, but . . .

GW
I would hope that you would go to more shows than you write about. Gentrification is a huge issue . . . brick and mortar galleries are changing . . . I  plan to be open for a long time because it is really important that people SEE the work. The haves and have nots is widening. [?]
CD
This town is awash with money. It’s changing things. The good of it is that we have an extraordinary museum, but it also means that people are getting priced out. As a critic I can be an observer . . . In terms of the large art market, it is so much about the prestige of objects—objects of value that people store like real estate or jewelry. Those collectors are most impoverished by this method of collecting because they are missing out on what we really thing is important and valuable about art. We have major galleries moving here, such as Pace [gestures toward a few seats in the room]. The collecting part is not what I am interested in talking about.
GW
But real collectorship has not presented itself. Middle galleries are where art careers are incubated. The Gogosians are going to do fine. What makes SF great is that we choose a life here, not a career. Artists can take risks here. We talk about mega galleries and I wish it was the opposite. Given the state of entrepreneurialship, there are many great things happening here right now.
CD
Yes, I just got an email from Oakland Art Murmer [who incidentally was just covered in the New York Times]. They stated that the galleries are in trouble . . .but hasn’t it always been a struggle? If you call yourself in trouble, who wants to be a part of that—of trouble? We should be championing you! There is no reason to go there if it isn’t exciting—and it is exciting.
GW
 Yet there is not a big economy for sales there. . . we like to think that there is some grand trajectory for how it’s supposed to go at galleries, but the truth of the matter is, it is much more like grappling in the dark.
CD
There are two kinds of collecting. 1. I’m excited about this work, and I want to be a part of this artist’s life and their work. And 2. The investment side. But I’m not interested in talking about that side of the art market.
GW
But maybe people should know how it works. The meaning of art is the reason why we come together, why we are here.
Audience Member
There are 2 kinds of writing – writing about the big places/artists, such as SFMOMA, and writing about the lesser known galleries/artists. You have the power to make that lesser known artist successful.
CD
I need to do both. I have to be able to give substance about major shows, and if you trust me there, then you will begin to trust me about the smaller shows/lesser known artists. You would get bored after a while if I only wrote about people you knew nothing about. “I embrace that power.”
AM
Is it your view to raise the profile of the Sf art scene to the global world?
CD
If I can affect things I will! People have told me, “You are not critical enough.” I do this because I love art, galleries and institutions. The best you can do is put it out there, and hopefully people will engage.
GW
 There are a lot of other art places, New York, Berlin, Los Angeles. We tend to put ourselves down, and compare ourselves to those places. It’s like we are the “stepchild” of these other great art cities. We get down on ourselves—we need to stop doing that and to base ourselves on other peoples’ values systems when we gauge ourselves.
CD
We have a lot here that New York will never have. Like David Ireland for example—he is known in New York, but New York will never have his house! There are other great artists here doing amazing things: Stephanie Syjuco, Paul Kos [Reader: Who else!?! Show your support for the SF artists you think are great, and name them in the comments section.]
AM
I recommend you read the book, Art on the Block. (a book about the New York art scene) [a bit of a non-sequitur]

AM
Art writing has changed. I would like to hear more about these changes and the developments.
CD
I try to provide different writing for different venues as much as I can. Let’s face it, Artforum lost their readership decades ago—meaning the people who really care . . . “I am a mass market thinker, not a boutique thinker.” (end quote)
AM
What are you going to do about buyers, the ones who are on the fence? There are tons of tech people showing up who are willing to buy an art print for $35, but they need time to think about the $1000 original.
CD
“That’s the dealer’s job.” [He seemed dismayed. As he said earlier, this is not something he wants to talk about, meaning not writing for collectors to decide to buy something. Glossary wants to educate viewer about the deeper meaning of art, who may happen to be potential collectors, but we are not writing to encourage people to buy art. Through education, perhaps more people will be excited about art, and begin to support it in many ways, such as attending opening, and maybe someday buying something].
AM
Are there other platforms that people can engage with you?
CD
 Yes, I have a Twitter handle, @Artguy1 and my email is [email protected] People don’t really write letters to the editor anymore, but they do write in comments, and on FB too.
AM
Will you be covering the East Bay Area and beyond?
CD
Yes, they are one of my targets. But I have to be honest, a small gallery in Benicia will have trouble getting press because there are so many other great things happening here.
AM
Online really is a golden opportunity to do so much more with art analysis. Are you going to be doing anything that will make the experience different for readers on site? Like videos for example?
CD
That’s what the editors are asking of me now. We’re working toward other layers of engagement.
AM
You wrote about Baldessari in 1973/74 . . . [apologies, if anyone can clarify the question and comment of this audience member, please do].
CD
Yes, that was early in my career and I got an art critic fellowship from the National Endowment of the Arts (they don’t give those anymore). I will say this about that piece: I was wrong!! That is one piece I am most embarrassed about. On a personal note though, I am the eldest of 7 kids. My parents didn’t graduate from college. Finding art radically changed my life. It’s not to say that I deserve any accolades other than I love this job and I get to share that thing that changed my life with others.
AM
What freedoms do you have as a writer? Do you have the freedom to write about meaning and what the masses need and to help the collector jump on that train?
CD
I have total freedom. (Jokes) But if I screwed that up they would fire me! I have a commitment to write about what SF is interested in. On a couple of occasions I have gotten suggestions . . . but the real challenge is not my bosses, it’s me. We are working on a new column now, and I suggested calling it “Not Kenneth,” but they didn’t go for it. [laughter]
AM
As a teacher and artist, I have asked Kenneth Baker this, and I want to ask you: What is it that Does excite you and make you want to write about it?
CD
I’d like to claim that I have the ability to know authenticity. It’s the thing that is most interesting to me—and meaning matters to me the most—to suss it out and share. I make efforts to point out why I think something is valuable. And I have lots of interests, be it something cerebral or something visceral. I am at the service of what artists want to convey and that’s what I fall in love with.
AM
Why the Chronicle and not just any joe-shmoe who can have a blog?
CD
We have several freelance writers, not just me. And we will continue to be a voice of the landscape in general and maintain a holistic view. One holistic place, that’s what the paper is going for.
GW
But isn’t that an antiquated view? The local art scene is what we fall in love with. The authoritative voice is changing.
AM
I think it’s valuable though. There is value in a critic and a regular voice that stretches people. It’s not the only thing, but a valuable service that give voice to those things we love.
CD
There are many writers who are really diligent that I read, Blake Gopnik (Warholiana among others) ; Carolina A. Miranda (LA Times) ; Sebastian Smee (Boston Globe) ; Peter Schjeldahl (The New Yorker) 
AM
What about Jerry Saltz?
CD
Jerry Saltz is an idiot!
AM
Part of the allure of New York or Los Angeles for artists is that here it is hard to make art. We are working jobs and that chips away at making work. What is your opinion about the changing working conditions for artists?
CD
For centuries artists have been making meaningful art and they just did it. We are stuck with what we have. It’s important to focus, even if it is only an hour a day, approach it like that is what you need to do.
GW
 There are a lot of artists here not making art full time. Art is a life, not a career. The winds of the market change—you just do it—you find a way to make it.

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Glossary invites people to join in the discussion or comment on the issues discussed in the talk.

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