In his first remarks since local artist Maximo Caminero smashed a vase in one of his artworks on view at the Pérez Art Museum Miami (PAMM), Ai Weiwei told the Associated Press that he doesn’t understand or agree with the vandal’s actions. “Damaging other people’s property or disturbing a public program doesn’t really support his cause,” Ai said. That cause, according to Caminero, is getting PAMM and other Miami museums to show more local artists.
Caminero destroyed the vase, a Han Dynasty urn repainted by Ai as part of the work “Colored Vases” (2006–12), on Sunday, February 16. At the time, he told reporters that he was inspired by photos on display in the same room of Ai himself dropping and breaking a vase — another famous piece by the Chinese artist, called “Dropping a Han-Dynasty Urn” (1995). “I saw it as a provocation by Weiwei to join him in an act of performance protest,” Caminero said then. Ai told the AP that he finds this “misleading. You cannot stand in front of a classical painting and kill somebody and say that you are inspired by [the artist]. … This doesn’t make any sense.”
Some people have questioned whether Ai is being hypocritical or taking himself too seriously, but it seems pretty clear that the issue here is ownership: “Ai Wei Wei, I believe, has owned in one way or other the things that he has destroyed [in his art]. [Caminero] was destroying someone else’s property. That strikes me as a form of vandalism and not a form of art,” said Kerry Brougher, interim director of the Hirshhorn Museum and organizer of the exhibition Damage Control: Art and Destruction Since 1950, in an interview with the Washington Post.
And what would that property be without a value? News outlets have reported the vase as being worth $1 million, a figure that apparently comes from the Florida police affidavit for the incident. Asked about that sum by the AP, Ai called it “exaggerated” and “a very ridiculous number.”
The Tweet comparing an ominous screen capture from the Tucker Carlson Show to one of Holzer’s Truisms is being sold as an NFT to benefit crucial organizations in the wake of the Supreme Court decision.
Rapper Maykel “Osorbo” Pérez was sentenced to nine years.
Shows at the Hudson Valley’s Hessel Museum of Art feature artists Dara Birnbaum and Martine Syms, as well as new scholarship on Black melancholia as an artistic and critical practice.
On the day of the Supreme Court’s decision to undo 50 years of constitutional rights to abortion, artist Elana Mann’s “protest rattles” feel especially poignant and urgent.
This week, Title IX celebrates 50 years, the trouble with pronouns, a writer’s hilarious response to plagiarism allegations, and much more.
PLEASE SEND TO REAL LIFE: Ray Johnson Photographs reveals the “career in photography” that occupied the artist in the last three years of his life.
Since antiquity, women’s eyebrows have been sites of intense scrutiny, constantly shifting between trend cycles.
A landmark show of 30 artists at Jeffrey Deitch gallery in New York keeps the category of Asian figuration open-ended.
Contemporary Black-Indigenous women artists Rodslen Brown, Joelle Joyner, Moira Pernambuco, Paige Pettibon, Monica Rickert-Bolter, and Storme Webber are featured in this digital exhibition.
Hall makes no attempt to entice the viewer to begin looking and to look again, letting her methodical craft compel viewers to reflect upon their experience.
In Benglis’s latest works, the forces of gravity that defined her seminal poured latex and polyurethane pieces are traded for luminous bronzes.
A new project by Columbia’s Queer Students of Architecture, Planning, and Preservation explores queer histories that have been suppressed by gentrification and urban development.