After Gagosian collected Bob Dylan into his roster of artist for an underwhelming exhibition in his Upper East Side gallery, it’s hard to take these celebrity-turned-artists seriously.
Gagosian Gallery
We all know that Gagosian Gallery is the Death Star of the art world. They are perceived as the enemy of any art-loving person who doesn’t want to think about dollar signs with their art, well, unless they’re silkscreened by Warhol on canvas. And now The New York Times‘ Randy Kennedy has done us all a great service by discovering that … well, I’ll let him tell you …
‘Transformative use’ is just mucking things up. That’s what I think. Providing a pivot for the Cariou v Prince case and the only real point of interest no matter what the pundits say, transformative use, instead of the fog-clearing test that it was supposed to be, has become the main particulate in a legal fog of war that has lasted three years now. Thus far, the dueling Cariou v Prince briefs have added new certainty to my theory that transformative use is a singularly unhelpful notion.
This week … Warhol’s Headline works, a 2003 interview with Sol LeWitt, Twitter paintings by Evan Roth, Kapoor & Isozaki partner for an inflatable concert hall, world’s earliest Christian inscription is identified, Gagosian’s Madison Ave shop closes, NY pics from 1974, color TV spots from the 1960s and a shrine to buffed street art.
This week… Ai Weiwei Easter egg, Picasso & Marie-Thérèse, camera obscura, LACMA acquisitions, John Berger’s new book, thoughts on criticism and Mummers in Newfoundland.
The art world is apparently supposed to line up behind Richard Prince. If you’re radical right now, you view intellectual property (IP) as a vestige of an archaic market strategy. You think of IP enforcement as a form of hoarding. And you think that anyone who objects, just “doesn’t get it.” And any artist who wishes to build a brand or even to get paid for serial prints (mind you, this includes some of the very radicals mentioned above!) — well, they are supposed to line up behind Patrick Cariou. If you’ve got a vested interest in a body of work, you think of appropriation artists as vermin, lazy, energy-sapping parasites. And you think that anyone who objects is an egomaniac with a crazed sense of entitlement. Want to pick a side in the debate? Here are a few things you’ll need to know.
The result of a lawsuit levied against Richard Prince’s “Canal Zone” series of photos has determined that the artist may be forced to destroy the works, as they violate copyright laws protecting the series of photographs appropriated by Prince, “Yes Rasta” by French photographer Patrick Cariou. In the end, what happens to Prince’s work is up to Cariou. The court case revolved around whether or not Prince’s alterations of the Cariou’s photos constituted total transformations of the originals, and thus protected under fair use laws. The answer handed down by the court was that Prince’s works didn’t count as fair use of the images — in a word, Prince’s works were too derivative.
Mira Schor writes about the disturbing reaction of the Gagosian Gallery (and the NYPD) during a silent protest at the gallery’s 24th Street space last week. [HUFFINGTON POST]
At Gagosian gallery on December 23rd, black-shirted figures stood in front of Anselm Kiefer’s enigmatic, monumental sculptures. Wearing shirts inscribed with “Next year in Jerusalem,” the protesters were attempting to continue Keifer’s political dialogue. Gallery employees didn’t agree and tried to force them out. Unfortunately, an innocent bystander got caught in the middle and was injured in the process, The New Yorker reports.
Yesterday afternoon, I ventured out into the bordering on bad weather and braved the gray skies to bring you the latest on Chelsea this November. The gallery district is probably much as you remember it, with high-end galleries showing off their blue chip stables and smaller spaces skipping to keep up. Yet there are still pleasant surprises to be found in the warehouse-strewn streets, from lesser known painters that include (gasp!) a ceramicist to commercial shows that may as well be museum retrospectives. Continue below for the blow-by-blow of my blue-chip Chelsea trip.
