Archive for the 'Art' Category

Great moments in public art.


Somewhere on the road between Nicoya and Sámara. (Photo by C-M.)

“Apart from drugs, art is the biggest unregulated market in the world.”

Man, I LOVE Robert Hughes when he’s railing against money!!! And this short documentary series about how money has come to rule the world of contemporary art is so good, I’ve posted posted all six episodes here. Not only is the message (and the historical footage) all kinds of amazing, the scenes that show Hughes staring dramatically into space are straight out of Masterpiece Theatre. There are many fantabulous moments in this doc (footage of Robert Rauschenberg crashing Robert Scull’s auction of his work is one of them), but my most favorite comes in Episode 6, in which Hughes interrogates collector Alberto Mugrabi about art. IT IS FUCKING SUBLIME (even if Hughes conveniently overlooks the fact that Rauschenberg was kind of phoning it in at the end).

Seriously, light a fattie and watch this. It is sooooo good on so many levels.

Double hat-tip to Jörg Colberg for pointing the way on this. The additional five episodes can be found below.

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Photo Diary: A visit to the Milwaukee Art Museum.


It’s impossible to take a bad picture of Milwaukee Art Museum’s atrium (designed by Santiago Calatrava). This museum is all kinds of killer. I couldn’t get enough. (As always, click on images to supersize.)


Would look smashing with a plastic cover: a mid-nineteenth century sofa attributed to John Henry Belter.


A sculpture by Donald Fortescue and Lawrence LaBianca in the museum’s New Materiality exhibit, up through June 12. This piece had a very subtle audio component to it: stand under the trumpet and you could hear the faint sounds of water sloshing. It was the kids there who pointed this out to us.

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The Art of Graceland.

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The Figure in Contemporary Art: Whitney Museum edition.

Glenn Ligon, Self-Portrait, 1996. This screen print definitely has to be seen in person to be appreciated. It’s heavily pixelated and provides a similar experience to viewing Chuck Close’s work. At a distance, the image looks perfect, yet as you get closer the process and its flaws become more apparent. (Courtesy the Whitney Museum).

A recent visit to the Whitney Museum of American Art earlier this month for the opening of the Glenn Ligon show turned up a large selection of works for my series on the Figure in Contemporary Art (check out parts One, Two, and Three). While I was there, I also saw Legacy: The Emily Fisher Landau Collection, housed in the Emily Fisher Landau galleries. While trying to soak in the art, I kept finding myself listening to old rich patrons talk about pieces they would buy. Thankfully, amid the market talk, I did manage to find exactly what this series needed: quality art examining the figure in many different manners, from many different voices. As I wrapped up my viewing experience at the museum, the upper-crust were downstairs trying to get down to Justin Timberlake’s Sexy Back. I knew then that it was time to get back to Brooklyn.

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List of Lists: A book of artistic miscellany.


Ad Reinhardt’s list of desirable and undesirable words for describing art. Sadly, ‘ridiculosity’ did not make his list. (All images courtesy of the Smithsonian’s Archives of American Art and Princeton Architectural Press.)

Any regular reader of this blog will know that I am partial to lists. One, because they’re handy. Two, because they can convey great meaning in just a few words. And, three, because they can reveal so much about the person that creates them. Which is why I’ve really enjoyed thumbing through Lists: To-dos, Illustrated Inventories, Collected Thoughts and Other Artists’ Enumerations, by Liza Kirwin, who serves as curator of manuscripts at the Smithsonian’s Archives of American Art.

As part of her job, Kirwin combs through the files that she receives from artists’ estates or from the artists themselves, cataloguing important letters and diaries. Almost every single collection is accompanied, she says, by lots of lists. “Some have thousands,” she explains, from lists that chronicle artworks shown at a particular exhibit to lists that record day-to-day gallery business. Though often considered ephemera, these can often be invaluable. “One of our treasures in the archives is the list by Picasso of artists that he recommends for the 1913 Armory show.”

Her book, published last year by Princeton Architectural Press, contains a wide gamut of highly intriguing lists, by artists both well-known and forgotten. This includes Franz Kline’s liquor bill for a 1960 New Year’s Eve party. (He spent a sum total $274.51 for an extravagant quantity of booze — that’s more than $2,000 in 2011 dollars). There are Ad Reinhardt’s tidily organized lists of words on index cards, from 1951, in which he creates a schematic of art language. (Shown above, and after the jump.) And there are the lists of painter Adolf Konrad (1915-2003), who once created a pictorial packing list for a jaunt through Egypt and Rome in the ‘early ’60s (see below). “When this came in,” says Kirwin, of Konrad’s watercolor list, “I made a photocopy of it because I said to myself, ‘If I ever do a book, I want to include it in there.’ I just loved it. And now it’s the cover.”

One of the pieces Kirwin found particularly meaningful were the to-do lists of painter and collagist Janice Lowry (1946-2009. “She died of liver cancer,” says Kirwin. “She was working out a lot of issues with her family in her lists. She told me that she could look at the list and see which things she was really avoiding because she would migrate it to the next list. A lot of these had to do with going to the doctor and getting blood tests. She felt intuitively that something was wrong her.”

As technology changes, so does the nature of lists. More contemporary submissions to the archives, says Kirwin, often arrive on discs. These raise all manner of preservation questions: Do you preserve the list in its original formatting? Or strip it down to simple text? How do you store it? “It’s something we’re grappling with,” she explains. “But the lists, they’re not as much fun, for sure.”

See more sample lists below. Click on images to supersize. Want to see more? The Morgan Library in New York will display these, and many others, starting in June.

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My latest in ARTnews.

I’m suuuuper excited about the April issue of ARTnews, which not only features my article on video games and art, but provides me with a cover story that features Elvis. And as someone who got hitched at the Graceland Chapel in Vegas, all I gotta say to that is: HELL. YES.

Further afield:
If you want to see video of Brody Condon’s piece, which is featured on the cover, you can find that on his website right here. If you’re looking for some additional reading, may I highly recommend Tom Bissell’s Extra Lives, a breezily written and poignant introduction to games and game criticism. Online, for thoughtful takes on video games and game culture, definitely check out Ian Bogost’s blog as well as Kill Screen Magazine.

Thanks for reading! And, as always, the story looks even better in print (with lots of sexy graphics) — so buy the mag if you can.

xox,
C.

The Figure in Contemporary Art: Armory Show Edition.


The Armory Show provided the perfect location in which to scope out some works for my series on the figure in contemporary art (see parts one and two). Above, Marc Quinn’s Michael Jackson, from 2010, at Thaddaeus Ropac. A classical take on a fallen icon — reminding me of Michael Jackson and Bubbles by Jeff Koons, except naked.


Pieter Hugo, Mohammed Rabiu with Jamis, Asaba, Nigeria, 2007, at Yossi Milo. I was blown away by this series of photographs by Hugo when they came out, and it was nice to see a large print in person. The fair was heavy on photojournalism, especially series that deal with Africa.


Anish Kapoor, Untitled, 2010, at Lisson. True to my Midwestern roots, I wore blue jeans and a white T-shirt to the Armory… Now, thanks to Anish Kapoor’s reflective tendencies, you’ll all know about my child-bearing hips and incredible forearms. There was an abundance of mirrors, mirror finishes, and reflective plastics at the fair.

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The Figure in Contemporary Art: Brooklyn Museum.


Fred Wilson, Grey Area (Brown Version), 1993. (Photographs taken by Ben Valentine at the Brooklyn Museum last December.)

Recently, while browsing an art history book, I began thinking about how much the portrayal of the human figure has evolved since the Paleolithic era (think Venus of Willendorf), through the Renaissance (Michelangelo’s David), to today — when contemporary artists seem to portray humans conceptually and aesthetically in radically different manners. This has inspired me to begin collecting contemporary representations of the human form. I thought I’d begin the series at the Brooklyn Museum, which features a wide range of artists and aesthetics (all walking distance from my apartment). Hopefully this photo series will begin to give us an idea of the many facets of identity today. It could help us see how far we have come, or simply show how psychotic we all happen to be…

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Photo Diary: A tour of installation art at the IMA, in Indianpolis.


Ball-Nogues Studio, Gravity’s Loom, 2010 — currently on display in the entry hallway. (All photographs are courtesy of the IMA, unless otherwise noted.)

From the fall of 2009 to the summer of 2010 I volunteered at the Indianopolis Museum of Art (IMA) under Associate Conservator of Objects & Variable Art, Richard McCoy. While there I documented and filed examination reports on works by artists such as Maya Lin, El Anatsui, and Robert Smithson. I also helped with the installation and maintenance of the Tara Donovan (my current boss) exhibition.

Over the holidays I paid a visit to the contemporary galleries; which during my time at the IMA I’d become very familiar with, so it was nice to return with fresh eyes. Here are some of my favorite installations, both old and new:


Robert Irwin’s, Light and Space III, 2008.  (Image from Thoth188.)

In 2008, Robert Irwin made an installation for IMA’s Pulliam Great Hall, which is at center of the IMA’s galleries. The space at the time was dimly lit, adorned with outdated wood décor — lacking any kind of impact for the focal point of the IMA experience. True to Irwin’s style, Light and Space III evolved directly from the requirements of it’s location; in a sense he grew the piece from the space. One of the most amazing experiences I had while interning at the IMA was when this installation was turned off; while walking through the contemporary galleries, I kept feeling as though something was missing; it was the presence of this piece, which is turned off whenever the museum closes. (Learn a little about this piece and Irwin’s process by watching a video of the artist in conversation with my old boss.)

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