{"id":7150,"date":"2019-03-03T23:11:32","date_gmt":"2019-03-04T00:11:32","guid":{"rendered":"https:\/\/thebirthofeverything.com\/authorsite\/jarrett-earnest\/"},"modified":"2019-03-04T01:19:59","modified_gmt":"2019-03-04T01:19:59","slug":"jarrett-earnest","status":"publish","type":"post","link":"https:\/\/museumofnonvisibleart.com\/authorsite\/jarrett-earnest\/","title":{"rendered":"Jarrett Earnest"},"content":{"rendered":"

\"\"Jarrett Earnest is the author of <\/span>What it Means to Write About Art: Interviews with Art Critics<\/em><\/a> (David Zwirner Books, 2018), editor of <\/span>Hot, Cold, Heavy, Light: 100 Art Writings 1988-2017 <\/a> <\/em>by Peter Schjeldahl (Abrams, June 2019) and curator of “The Young and Evil” at David Zwirner, NY (February 21 – April 13, 2019). <\/span><\/p>\n

“The Young and Evil” press release from<\/span> David Zwirner;<\/p>\n

David Zwirner is pleased to present The Young and Evil<\/em>, a group exhibition curated by Jarrett Earnest, at the gallery’s 533 West 19th Street location in New York. The exhibition will feature significant works from the first half of the twentieth century by Paul Cadmus, Fidelma Cadmus Kirstein, Charles Henri Ford, Jared French, Margaret Hoening French, George Platt Lynes, Bernard Perlin, Pavel Tchelitchew, George Tooker, Jensen Yow, and their circle. This group of artists and writers looked away from abstraction toward older sources and models—classical and archaic forms of figuration and Renaissance techniques. What might be seen as a reactionary aesthetic maneuver was made in the service of radical content—endeavoring to depict their own lives.<\/p>\n

Drawn from important public and private collections, key works include a painting from Paul Cadmus’s infamous sailor trilogy, Shore Leave <\/em>(1933), on loan from the Whitney Museum of American Art; a major canvas by Pavel Tchelitchew featuring vignettes of George Platt Lynes at work; rare paintings by Margaret French and works on paper by Fidelma Cadmus Kirstein; and never-before-seen erotic drawings and photographs from the Kinsey Institute at Indiana University. On the occasion of the exhibition, a fully illustrated, comprehensive catalogue featuring new scholarship by art historians Ann Reynolds and Kenneth E. Silver is forthcoming from David Zwirner Books.<\/p>\n

\"\"
Both images – George Platt Lynes, c. 1930, silver gelatin print. courtesy David Zwirner and Vincent Cianni\/Monroe Wheeler Archive, Newburgh, NY.<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

Jarrett Earnest is the author of What it Means to Write About Art: Interviews with Art Critics (David Zwirner Books, 2018), editor of Hot, Cold, Heavy, Light: 100 Art Writings 1988-2017  by Peter Schjeldahl (Abrams, June 2019) and curator of “The Young and Evil” at David Zwirner, NY (February 21 – April 13, 2019).  “The Young and Evil” press release […]<\/p>\n","protected":false},"author":3,"featured_media":7166,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[6],"tags":[],"class_list":{"0":"post-7150","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-interview","8":"entry"},"_links":{"self":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/7150","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/comments?post=7150"}],"version-history":[{"count":2,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/7150\/revisions"}],"predecessor-version":[{"id":7167,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/7150\/revisions\/7167"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/media\/7166"}],"wp:attachment":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/media?parent=7150"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/categories?post=7150"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/tags?post=7150"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}