This week, a new younger Mona Lisa, 1%ers using art as business collateral, image rights stupidity, Klaus in WSJ, a very green museum, Nazi Buddist space sculpture, a fake Basquiat, and more
When DD Dorvillier introduced an excerpt from her Danza Permanente at Judson Church last year, explaining that each of her four dancers would mirror one instrument in a Beethoven string quartet, a dance historian might have been puzzled. On the timeline of American concert dance, this sounded rather familiar: Didn’t the modern dance pioneers Ruth St. Denis and Ted Shawn do something similar about 100 years ago, when they developed a choreographic approach known as “music visualizations”? Hasn’t Mark Morris, famous for his musically complex choreography, been physicalizing classical scores since the 1980s? Oh, and then there’s Balanchine…
If anyone wants an indication of the ever-widening chasm between the art world and the museums, look no further than the career of Ralph Humphrey (1932 – 1990), a painter whose works calls into question every marker of progress brought to bear on art. The current exhibition at Gary Snyder—his first New York show in fourteen years—brought to mind the refrain that has been repeated since the artist died, not yet sixty, more than twenty years ago: a museum really ought to do his retrospective.
In a nervy move, the British-born, naturalized-American sculptor William Tucker is currently presenting an exhibition of two bodies of work separated by nearly forty years, a contrast which could very well have left the new work looking overblown and the old work feeling timorous.
“FUCK Sherrie Levine!” thunders Andre Malraux, quaking with rage, “I was fucking stealing statues in Cambodia!”
Not, however, the real Andre Malraux— the writer, adventurer, and assembler of imaginary museums who became France’s first Minister of Cultural Affairs under Charles de Gaulle (and who, having shed his mortal coil in 1976, would never have heard of Sherrie Levine) — but Andre Malraux as incarnated by the artist Dennis Adams in his 42-minute video tour de force, Malraux’s Shoes.
Archie Lee Coates III is one of seven curators of Beginnings-, a new gallery that launched Thursday night on a side street in Greenpoint. He met with me a few hours before the opening of their inaugural exhibition to discuss the challenges or the lack thereof to running a space with seven pairs of hands in the kitchen.
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The art world is a notoriously secretive place. Even though it’s pretty much universally agreed upon that the system and its attendant economics are royally screwed up, people are still hesitant to talk openly about the problems. In the past year, thankfully, this has been shifting a bit, due in part to the efforts of Occupy Museums, Arts & Labor, and other OWS-offshoot groups, as well as organizations like W.A.G.E., which presented the data it gathered from a 2010 survey about payments to artists who exhibited with nonprofit institutions. (The conclusion? Artists are [fucking] poor. Why? Because they often go unpaid.)
Most of the year, the art world’s attention is focused on the big, international cities: New York, London, Miami Beach, LA, Basel, etc. But starting in the fall of 2009, ArtPrize put the far lesser-known city of Grand Rapids, Michigan on the art world map. ArtPrize quickly became famous in part for its openness — anyone over 18 may enter their artwork; in part for its voting style — often described as American Idol–like, with anyone allowed to register and vote; and in part for the large sums of money it gives away — $200,000 for the winner of the public vote, another $160,000 for the others in the public top 10, plus a new $100,000 Grand Juried prize this year and five more $20,000 juried awards in specific categories. That’s a whole lot of prize money.
RoseAnne Spradlin’s beginning of something was evocative but didn’t offer enough to chew on; DD Dorvillier’s Danza Permanente is not one of her best works, but it gives gives viewers a glimpse of the choreographer’s process.
“When you look for Jerusalem online, the first thing you see is rocks,” Itay Mautner, the artistic director of the Jerusalem Season of Culture protested. “On Flickr, you see more rocks than people.” Mautner and his associates are hoping to give Jerusalem a facelift. The Season of Culture, a super-spanning festival of arts that ran this year between mid-May and early September, is a collaborative effort between the Ministry of Culture and a host of local artists, designers, and musicians to shine a light on Jerusalem’s ever-strengthening art scene.
EDMONTON, Alberta — Animated GIFs express newness through the medium of the explicitly old. Seen as the quaint markers of a pre-Flash world wide web, GIFs’ ongoing renaissance over the past half-decade places them in an online context that marks their vintage aesthetic difference as a notable appeal rather than an intrusive deficiency.