Tilda Swinton’s narcoleptic performance of Cornelia Parker’s “The Maybe” will happen spontaneously six more times this month at unannounced locations within the MoMA.
Personally, I think this sort of spontaneous napping should become a sort of critique of unimaginative or overly subjective art shows: I’m thinking of doing “The Maybe” at a few art openings here and there– and whenever I drop in to the New Museum–I’m thinking we need some flash mob maybe’s.
Perhaps we all go out to Dia Beacon and maybe it up in the midst of all that minimalist/conceptual cannonized dry-ass religiously guarded art history.
I’d like to maybe in front of every Rob Pruitt ever made in China.
• The art world was appalled by a recent decision of the Ontario Conservation Review Board which deemed that an obscure, yet academically lauded, bit of land art had no “heritage value to the ‘community” because it is out of the way and privately owned. The cultural think tanks are all on board with ways to perserve it and we predict that it will soon be properly owned and tickets will be sold to see it and coffee will be sold nearby:
Shift in heritage: Richard Serra sculpture has uncertain future: Micallef Shawn Micallef,The Star
“The closest thing southern Ontario has to Stonehenge is Shift, a sculpture by Richard Serra in a King City farmer’s field. Serra is a superstar artist whose work is worth millions of dollars but Shift remains relatively obscure. Though many places would envy our big Serra, last month the Ontario Conservation Review Board decided not to support King Township’s request that Serra’s work be protected under the Ontario Heritage Act, so its future remains uncertain.”
• Someone wrote the crucial annual Damien Hirst/plagerism exposé:
• A new artwork by a hated person proved so unworthy of note that it got lots of angry press:
Glenn Beck Makes Really Bad “Piss Obama” Artwork hyperallergic.com
“Three years ago, New York magazine art critic Jerry Saltz challenged Glenn Beck to curate two exhibitions, one of work he disapproved of, another of work he liked. Beck ignored the offer. But this …”
Glenn Beck’s Obama Pee Stunt Shows He’s Still in Populist Huckster Game Michael Moynihan,The Daily Beast
“Submerging an Obama doll in fake urine may have been a bid for attention, but out of the limelight the former Fox News host’s been building an empire that goes beyond right-wing paranoia to TV network TheBlaze, a $100 million radio deal, and 10-dollar bags of chocolate pecans.”
Congrats to Olek for inadvertently offending readers of Haolam Hacharedi, an orthodox Jewish magazine which pulled issues containing a review of the artist’s latest coup off stands. Apparently when they decided to review Olek’s show at Tony’s Gallery in London, they were unprepared for the photographic contents of Olek’s texty wall weavings which contain intimate messages from the artist’s own mailbox, many of them of a sexual nature.
Isn’t that all men care about? Text, I mean.
Emergency measures were taken as head of the Union of Orthodox Hebrew Congregations in London, Rabbi Padwa, knocked out a dictum forbidding sale of the issue.
The Press Release says: “THE MUSEUM OF MODERN ART PRESENTS THE FIRST LIVE RETROSPECTIVE OF THE ELECTRONIC MUSIC PIONEERS KRAFTWERK” and promises “Entire Repertoire of Eight Conceptual Albums Performed Live Over Eight Consecutive Evenings from April 10 to 17.” The evening will be comprised of the albums performed in chronological order along with “elaborate staging” “3D images” and (shiver) “new improvisations.”
In case you’re a nostalgic baby boomer or a young technophile:
Tickets are $25.00 and will go on sale to the public on Wednesday, February 22, at 12:00 p.m., only at MoMAKraftwerkTickets.showclix.com. Space is limited. There is a two-ticket limit per person for the series, with each individual order limited to one transaction. Tickets will be distributed exclusively via will call, with photo ID required.
“Sources” told the New York Post that the Metropolitan museum of art is housing, somewhere in it’s dark nether chambers, some not-so-great works that they’d rather the world didn’t see. Awkward.
So how’d it get there?
Well, Carrie Rebora Barratt, the Met’s associate director for collections and administration told the Post that the museum will sometimes take lesser works from donors, in order to secure a work they want. But she intimated that the donors would be made to understand that the “unsolicited” works “may have to go into storage.”
I believe this is common practice, actually, and hope to unearth some more info on these and other hidden treasures real soon.
There are those, who, like the ever gracious Matthew Collings, think that street art is for punks:
“Do you like adolescent entertainment? Do you have the mentality of a teenager? Do you find Cézanne a bit overrated? If the answer is yes, yes and yes, then I don’t know what to do with you. You are a childish philistine literalist. Get down to Bonhams (one of the world’s oldest and largest auctioneers of fine art and antiques) next Tuesday for their first-ever dedicated sale of “street art” – this is the experience for you.”
~ Matthew Collings
And then there are those who agree.
Also there are those who don’t give a shit.
Hanksy, who’s debut show at the Krause Gallery was, according to the gallery, a great success says,
“The internet and the general public know me as Hanksy. Some call me a street artist, others call me a bad pun. I take iconic images from the UK street artist Banksy and mash it up with a reference from Academy Award winning actor, Tom Hanks.”
Heart on his sleeve, collector, writer, and entrepreneur Adam Lindemann tells Sotheby’s Alex Rotter, that, although he sold it for a timely world-wide record price of almost $24 million dollars, he “misses the hanging heart.”
Mike Kelly’s work appealed to me. For composition, for color, for nuances of meaning, and for being, as he put it “reactive” — a feedback loop to our zeitgeist. He was funny and sad and intellectual all at once.
He was discovered dead this Tuesday in his South Pasadena home. Those close to him suspect suicide but this is unconfirmed. He was 57.
Phillips dePury has topped past unintentionally funny catalog copy with a new gem describing Lot 30 in it’s upcoming Contemporary Art Auction. Lauding Richard Prince’s “Untitled Joke Painting,” dePury opens with this dubious gusher:
“Richard Prince’s Joke Paintings have remained a constant high point within the artist’s output for over two decades.”
Mm-hmm: Yes. Yes they have remained the high point. Sadly.
Then, having prepped us with the bad news, dePury goes on to do the WORST thing you can ever do to a comic: they EXPLAIN his joke!
“The work is technically lush, utilizing both acrylic and collage. The centered block letters read, in nine rows, “I never had a penny to my name, so I changed my name. Again, I never had a penn.” Prince’s obvious joke is corroborated by letters cut in half, and even missing with respect to final “y” in penny. One must assume that he did not have enough to his name even to get the text set correctly.”
Yeah. Heh heh. That must be it.
Oh, but there’s a leetle bit more: in case you missed that other funny…
“Interestingly, the joke Prince prints across the present lot is entirely unrelated to the subject of nurses, and thus the viewer might be left wondering what the connection is between the subject and its background. …If what he has collected also amounts to the oeuvre he has amassed, perhaps it’s simply natural for one piece to pratfall over another.”
Thank you. We might otherwise have assumed that Richard Prince just had a few nurses to get rid of.
“Street Art” is Just a Word for “Emerging Designer”
We’ve all seen it. Shep, Damien, Banksy… they started out hanging from the eves with a spray can, and ended up hawking t-shirts and limited edition art objects online. Yet even the advent of “Mr. Brainwash” didn’t really force us to just come out and SAY it.
But hell, now it’s time: The streets are just a starter kit for emerging artists with “urban” flavor: the goal is a corporate brand like OBEY or Objective Criteria.
“Today, somebody does a tag in Russia, China, Japan, or Africa, a friend photographs it and within a few hours it’ll be viewed on websites all over the world,” says Jeffrey Deitch, director of the Museum of Contemporary Art in Los Angeles, which recently opened a major show on the subject. “I think you can make a good case that street art is now the most influential art movement of the past 30 years. The penetration of urban culture is huge, and it’s influencing everything from skateboard design to high fashion. Some of these guys have even been hired to design Louis Vuitton handbags.”