Perreault wasn’t fancy about it, either-sometimes hilariously so. A tour through the gallery evidences that Perreault often used his creativity as a way of entering inside a more famous artist’s style, learning its contours from within-not unlike a passionate home cook replicating the recipes of a famous culinary icon, provisionally, in their own kitchen. Now a fascinating show of his art at MARQUEE PROJECTS in Bellport, New York, provides insight into the writer’s artistic MO. The paint-splattered sideline of the late Village Voice art critic John Perreault, who importantly championed the work of feminist and gay artists until his passing two years ago at age 78, is most intriguing not for the fact that he made art-but how and why he did. Walter Robinson, the enlightened former artnet News editor, is now experiencing the latter-day limelight as an artist, recently opening a gallery show in tony St. John Ruskin was much praised for his watercolors Clement Greenberg made paintings, though they were lesser known. “The Voice may be bigger than print and ink or any owner, editor, medium, or era, but this paper belonged to New York, and the people who have worked for it have served both the Voice and the city in exemplary fashion.It’s not that unusual for an art critic to be an artist as well. Editor Stephen Mooallem said the roughly 500,000 pages of Voice archives would remain for the time-being “a state-of-the-art analog experience. What happens next for the Village Voice could represent a bellwether for the rest of the publishing industry looking toward an all-digital future. “So enough with the eulogies for Rolling Stone and the Village Voice, two relics demolished not by the internet but their own narcissistic, congenital nostalgia,” Callahan crowed. While many mourn the Voice’s physical passing, others have been less charitable.Ĭontrarian New York Post columnist Maureen Callahan wrote that the changes at the Voice and the sale of Rolling Stone meant post-war baby boomers were finally releasing their “chokehold on American culture”. The images include the infamous denizens of the downtown realm – William Burroughs (with sword), the Beastie Boys, Madonna, Jack Kerouac – while cartoonist Steve Brodner reminisced: “This is journalism – authentic, fearless, two-fisted, pure.” In the final edition, a photo section celebrated the photographers and writers who “looked out at the rest of the world from south of 14th Street”. In severing the Voice from its physical existence, owner and publisher Peter Barbey said the 62-year old print publication had been “a public forum for ideas and a cultural touchstone for the progressive thought and envelope-pushing aesthetics that defined New York”. Michael Musto, the longtime nightlife columnist, marked the occasion with a return of his “La Dulce Musto” column.īy mid-morning on Thursday, many of the publication’s distinctive red distribution boxes were empty, copies collected up by souvenir hunters. The 176-page issue features a 50-page portfolio of journalistic luminaries who helped define the publication, including Voice co-founder Ed Fancher, theater critic Michael Feingold and film critics J Hoberman and Amy Taubin.
Photographed in a salute, the image of Dylan was taken in January 1965, near the old offices of the Voice.
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