“I’m sure the people of Iraq are looking forward to your poem about Franco and his economy,” Isabel tells the main character, Adam Gordon. Since the death of the self, the author and painting, the desire for significance has led to a daily slew of preposterous claims and downright silly statements.
This week, Knoedler scandal update, pleasure of art, how Cecil Beaton saved the Queen, Philippe Starck talks creativity/$/sex, rare African art, ringtone drama, Montreal artists remember slain homeless man, Rupert Murdoch’s art tweets, NY streets and the capital of Stolen Islamic art.
When Katherine Kuh asked Edwin Dickinson about his painting, “Self-Portrait in Uniform” (1942), where the artist depicts himself in a mirror dressed as a Union soldier, he answered, “I’ve had a number of hobbies; one was the Civil War. For about nine years I was particularly interested in that subject and the portrait comes from that time.”
Any year that begins with the caucusing of Republicans in Iowa and the sacking of Jim Hoberman at the Voice can come to no good. Yet here we are embarking on a new venture, Hyperallergic Weekend, to see what we can make of it.
We’ve collected some of the most interesting comments we’ve received on the Hirst spot paintings. Almost everyone hates them but the reasons are always different.
Proof of the Chinese art market blowing up can no longer be denied. On Wednesday, Bloomberg reported that two Chinese artists Zhang Daqian (1899-1983) and Qi Baishi (1864-1957) reign supreme in the art market, replacing Picasso as the top earner for 2011. Artprice has ranked Picasso as the highest grossing artist for the past 13 years, but with overall sales of $506.7 million this year, Daqian easily unseated the Cubism master. Meanwhile, Picasso tumbled down to fourth place, one below Andy Warhol, with total sales of only $311.6 million.
Go ahead, expect more of these sweaty headlines with question marks in them. Because, with the now rather infamous Cariou v Prince case up for appeal sometime this year, we are facing another deluge of half-informed, and angrily contentious, punditry which will wash over the raw, dry, factual sands of more professional reports like a tsunami of histrionics.
MANILA, Philippines — Shortly before I left Manila, I saw three shows that I wanted to take time to review briefly. My own biases as an artist and arts writer lean toward art that engages in some sense with social issues and society, and I found that so much Philippine art really tackled social issues in an interesting and refreshing way. These shows are definitely worth a visit.
For the 10 people who haven’t seen this video yet, I’ve decided to finally post it since I keep receiving emails and messages about it. Enjoy.
Like most art writers and enthusiasts, I rolled my eyes when I first heard about Damien Hirst’s spotted global Gagosian invasion. Then I started thinking maybe the artist’s real artistic strength comes from his unquestionable power to piss people off.
Sergio Muñoz Sarmiento of the always interesting Clannco: Art & Law blog has chimed in about our yesterday’s post “When Paintings Are Easily Reproduced.” He tackles the legal question around Alfred Steiner’s “Erased Schulnik (Diptych)” (2010).
I find it exciting when fine art fuses with fashion, and Louis Vuitton’s recently announced collaboration with Yayoi Kusama may produce some spectacularly spotted goods. Interestingly, this pairing coincided with former LV collaborator Takashi Murakami’s newly unveiled installation at Qatar Museums Authority, which witnessed a departure from the Japanese artist’s signature Superflat subject matter.