PRINT February 2001


THE EXHIBITION NOW titled “Public Offerings” has undergone a lengthy and complicated gestation. The idea of exploring the impact of art schools on the production of art in Southern California first came to LA MOCA curator Paul Schimmel when a series of ever more derisory articles looking at the phenomenon—Dennis Cooper’s “Too Cool for School” in Spin (July 1997), Andrew Hultkrans’s “Surf and Turf” in these pages (Summer 1998), and Deborah Solomon’s New York Times Magazine piece “How to Succeed in Art” (June 1999)—began to appear. To endow the proceedings with the requisite critical breadth, Schimmel brought an authority on board: Howard Singerman, author of Art Subjects: Making Artists in the American University (University of California Press, 1999). However, as the curators increasingly discerned analogies between LA and a range of other “art centers,” the initially local (and

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