CHANEL Connects: The Critics in Venice - Featuring Kimberly Drew and Andrew Durbin

Release Date: July 2, 2024

In the latest episode of CHANEL Connects, titled "The Critics in Venice: Kimberly Drew and Andrew Durbin", hosts Jana Peel engages in an insightful dialogue with two prominent figures in the contemporary art world—Kimberly Drew, Associate Director of Pace Art Gallery and Editor at Frieze, and Andrew Durbin, Editor-in-Chief of Frieze Magazine. Filmed at the 60th Venice Biennale, this episode delves deep into the evolving landscape of art criticism, the impact of digital media, and the enduring significance of cultural institutions like the Venice Biennale.

Meeting Points and Formative Relationships

The conversation begins with Kimberly and Andrew reminiscing about their first meeting, highlighting the fluid intersection of social spaces in the early 2010s New York art scene. Kimberly recounts, “I can imagine. It was an opening that turned into a club or a club that spilled into an opening” ([02:26]). This blend of professional and social interactions underscores the collaborative nature of their careers.

A pivotal figure in their friendship is Jacoby Satterwhite, a multi-disciplinary artist whom Kimberly credits for connecting both to the art community. She shares, “Through him, we met” ([03:49]), emphasizing the importance of personal relationships in their professional journeys.

Navigating Multidisciplinary Roles

Both Kimberly and Andrew discuss the fluidity of their roles within the art world. Andrew reflects, “There's not one part of me where writer begins or ends, curator begins or ends” ([04:06]), suggesting that modern art professionals often wear multiple hats to remain relevant and engaged. Kimberly concurs, noting, “I don't really see the distinction between, say, critic, curator, editor” ([04:06]).

This multidisciplinary approach is a response to the digital age's demands, where versatility is essential. They argue that blending various disciplines is not merely a choice but a necessity in the contemporary art ecosystem.

The Digital Revolution and Its Discontents

A significant portion of the dialogue focuses on the transformation brought about by digital media and social platforms. Andrew laments the rapid changes, stating, “If I wasn't doing social media, I'd be rotting away as an assistant curator somewhere” ([05:25]). This highlights the pressure to maintain an online presence to stay relevant.

Kimberly expands on this by discussing the shift in social media dynamics over the past decade. “The algorithm ... prioritized video and speech. And that's a very different kind of criticism” ([14:08]). She voices concerns about centralized platforms like Google and Meta, which she believes are “fundamentally damaging to art” ([15:20]).

The duo also touches on the rise of AI in art and criticism. Kimberly expresses cynicism about AI’s role, worried about the “transition period” where artistic material is co-opted by large language models, potentially diluting authentic creativity ([15:20]-[17:00]).

Andrew adds, “The algorithm is listening to me with such intimacy and feeding me the things that it thinks I want” ([17:00]), critiquing how algorithmic curation can stifle the mysterious and spontaneous aspects essential to great art and culture.

The Importance of Tangible Records

Transitioning from the ephemeral nature of digital content, Andrew discusses his project "Black Futures", a book that compiles contributions from nearly 150 Black creatives worldwide, addressing the question, “what does it mean to be black and alive right now?” ([07:04]). He emphasizes the necessity of physical records in preserving art history, noting, “Printed matter ... is quote, unquote, dying” ([07:04]).

Kimberly echoes this sentiment, explaining her commitment to creating lasting records through magazines and books. She states, “The magazine ... is an essential part of how I think the art world makes a record of itself” ([09:29]). This focus on tangible mediums contrasts with the fleeting nature of online content, ensuring that future generations can access and study contemporary art movements.

Building and Maintaining Artistic Relationships

The episode delves into the delicate balance between professional objectivity and personal connection with artists. Kimberly admits, “I try not to draw too strong a line because I can't pretend that I'm not invested” ([11:16]). This emotional investment, she believes, enhances her effectiveness as an editor and curator.

Andrew adds, “At the end of the day, that's what I'm walking away with. Elitism in the art world is untenable. And there's only so many things that you have that are yours truly yours” ([13:23]). Building trust and maintaining genuine relationships are portrayed as vital currencies in the art community, enabling deeper engagement and more meaningful collaborations.

Experiencing the Venice Biennale

Kimberly and Andrew share their personal experiences at the Venice Biennale, each offering unique perspectives:

Kimberly Drew describes her organic and often surprising encounters:

• An unexpected meeting over ice cream with artists Claudette Johnson and Trevor Matheson ([19:15]).
• The overwhelming complexity of navigating Venice’s canals and the city’s orientation towards water ([24:26]-[25:03]).

Andrew Durbin reflects on his evolution from a scrappy attendee to someone conscious of the representation of marginalized artists:

• “It felt urgent to be here for the opening, to be here in this moment where we're seeing such an immense representation of marginalized artists” ([20:23]).
• Emphasizes the importance of experiencing art without the filter of digital mediation ([17:33]-[18:10]).

These anecdotes highlight the Biennale’s role as a melting pot of artistic expression and personal discovery.

Looking Ahead: The Future of Art

When asked about their excitement for the future of art, both Kimberly and Andrew provide optimistic yet nuanced visions:

Andrew Durbin is particularly enthused about the rise of artist residencies in Africa, which are fostering local talent and balancing traditional Eurocentric art centers:

• “Artists, specifically on the continent of Africa, who are building residencies, who are building opportunities for other local artists” ([21:44]).
• Optimistic about the “centrifugal forces” shifting the global art landscape ([21:44]).

Kimberly Drew shares her excitement for innovative, community-centric art projects:

• Highlights Tanko Presents in Tokyo, a roving gallery engaging pensioners with site-specific art installations ([22:50]).
• Celebrates artists creating for the joy of art itself, without commercial pressures ([23:56]).

Both emphasize the importance of emerging artists and the diversification of global art narratives.

Reflections on Venice’s Unique Charm

In the closing moments, Kimberly and Andrew reflect on Venice’s unparalleled ambiance:

• Kimberly marvels at the architectural intricacies and the city’s intricate relationship with water: “Claudette Johnson... was the most amazing thing I see” ([24:26]-[25:03]).
• Andrew appreciates the unexpected discoveries within old palazzos and the enduring beauty of terrazzo floors: “Step into an old palazzo... and the terrazzo floors, they never cease to amaze me” ([25:11]-[25:19]).

These reflections capture Venice’s timeless allure and its ability to inspire awe and creativity.

Key Takeaways and Notable Quotes

• On Multidisciplinarity: “There's not one part of me where writer begins or ends, curator begins or ends” – Andrew Durbin ([04:06]).

• On Digital Impact: “The algorithm is listening to me with such intimacy and feeding me the things that it thinks I want” – Andrew Durbin ([17:00]).

• On Building Trust: “At the end of the day, that's what I'm walking away with. Elitism in the art world is untenable” – Andrew Durbin ([13:23]).

• On the Future of Art: “We're seeing a new set of centrifugal forces at work... I'm hopeful, deeply, deeply hopeful” – Andrew Durbin ([21:44]).

• On Venice’s Charm: “The terrazzo floors, they never cease to amaze me” – Andrew Durbin ([25:19]).

Conclusion

This episode of CHANEL Connects offers a rich exploration of the intersections between art criticism, digital media, and personal relationships within the art community. Through the experiences and insights of Kimberly Drew and Andrew Durbin, listeners gain a deeper understanding of the challenges and opportunities facing contemporary art. The Venice Biennale serves as the perfect backdrop for this conversation, symbolizing both tradition and innovation in the ever-evolving art world.

For those interested in the dynamic interplay of art, culture, and technology, this episode provides valuable perspectives and thought-provoking discussions that resonate long after the final conversation.