Sometimes it’s better to be alone. Here are a few artists who we wouldn’t particularly like to spend a romantic Valentine’s Day with, from the over-sharing to the unstable to the plain unsettling.
Continue Reading →Tracey Emin
On Valentine’s Eve (is that a thing?), Tracey Emin will watch her video piece “I Promise to Love You,” along with the thousands of people that constantly circulate Times Square, as its neon pledges of love scrawl in wavering neon over 15 of Times Square’s giant screens.
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On January 22, 1973 the US Supreme Court legalized abortion in a 7–2 ruling in the case of Roe v. Wade. It’s been forty years since that decision, and although abortion remains legal, it’s no less controversial. In fact, it might be moreso these days, if the growing number of restrictions on the procedure throughout the country is any indication.
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Well, here’s a conundrum you don’t face everyday: famed art collector Charles Saatchi wants to donate his collection of contemporary work to his home country, the UK, but they don’t seem to want it. (First-world problems!)
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This week, new Banksy, artists/writers design money, early Christian art, talking to Gabriel Orozco, catalogue raisonnés, modern art toilets, globalizing art history, design criticism and political photo trends.
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PROVIDENCE, RHODE ISLAND — Ever since Pollock splattered his ego onto a canvas in the 1950s, a decided geographical shift across the Atlantic occurred — Europe lost its ruling power as center of the art world and New York stepped into it shoes as the new authoritative hub of contemporary art. Yet, the new exhibition at The Museum of Art at the Rhode Island School of Design, Made in the UK: Contemporary Art from the Richard Brown Baker Collection reminds that there was some pretty fantastic art being made just on the other side of the Atlantic. The exhibition displays work by British artist from the past 60 years, including exemplary works of Britain’s contributions to decidedly international art movements like Abstract Expressionism, Pop Art and Op Art.
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This week’s Required Reading includes Tracey Emin’s gift to 10 Downing St, you too can levitate in photos, Koons as roadkill, Nike’s swoosh is 40, internet art bubble, evolution of the hipster, autobot aethetics, street art in East Timor & more.
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A Hedonist’s Guide to Art may as well be called A Hedonist’s Guide to the Art World. Released last winter, the book is a collaboration between Artica, an eGallery for contemporary art, and Hg2, a series of luxury travel guides. It’s comprised of short essays from about 60 people from various reaches of the upper echelons of the London art world. The essays are divided between five chapter headings — ideas, lifestyle, the market, the art itself and “inner workings.” The content is most often in the form of a personal anecdote. That said, these tidbits are best nibbled on in small doses — it’s slow-going to read very many of these essays all at once.
Continue Reading →We all knew Young British Artist Tracey Emin isn’t afraid to say what’s on her mind. From making her unmade bed into an art installation to appliqueing the name of everyone she’s ever slept with on a tent, no one can say Emin doesn’t bare it all. In this 1999 interview Emin gets even more personal: she recounts how her first abortion forced her to rethink her artwork.
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Ridykeulous, founded by artists Nicole Eisenman and A.L. Steiner in 2005, describes itself as an effort to “subvert, sabotage, and overturn the language commonly used to define feminist and lesbian art,” primarily through exhibitions, performances, and zines. Attacking the marginalization of queer and feminist art as “alternative” cultures, they insist upon participating in mainstream dialogues about art and culture; in adopting the role of curators and organizing exhibitions, Steiner and Eisenman forcefully insert themselves and their collaborators into the spaces, both literally and figuratively, of the art establishment. Though not all of the artists in Readykeulous are female, nor do all identify as queer, they share an interest in disrupting the status quo.
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