Robert Longo is the king of that detached world of 80s über-cool, though in retrospect the whole “movement” (if we can call it that) was nothing like its PR. Sure, one could be fooled into thinking that Longo’s corporate figures writhing out of control were comments on the culture of the time, perhaps even foreboding what was to come — Reaganomics, corporate avarice, an extreme form of alienation — but did we really think it would lead to advertisements for Bottega Veneta?
Sure, we know that art dealers can be shady (very shady, in fact) but this recent story about a lawsuit that has been filed against the owner of Chelsea’s Stendhal Gallery swindling two artists to pay off a $90,000 bill at Cipriani Downtown, is unbelievable — even by New York standards.
Imagine a gallerist bringing new art works into the gallery. She pulls her truck up to the gallery curbside, gets out, and starts taking some paintings out of the truck bed. She takes one out just as she realizes that she hasn’t unlocked the gallery doors. So, she places the artwork on the curb and sets off to unlock the gallery. This person has intentionally placed art in the street. Is it street art? Obviously not. So what makes something street art if not the art’s being intentionally placed in the street? It might even seem that street art needn’t be literally in the street at all, so long as one accepts that Blu’s MUTO and similar works are street art — as a digital video it has no literal or direct connection to the street. Street artistic status must hinge on something else. So what is it?
Curator Joann Kim doesn’t want you to think of Mao Zedong, Hello Kitty, bukake or Panda bears when you think contemporary Asian art, and she’s offering an alternative at Arario Gallery’s New York branch titled, “Irrelevant: Local Emerging Asian Artists Who Don’t Make Work About Being Asian.” She tells us why.
Sources close to Hyperallergic have learned, from sources close to artist Jeff Koons — and his 120 + assistants — that the artist of choice of the last gilded age has met with NBA player Lebron James this morning in a final pitch for the New York Knicks to land the basketball superstar. That’s right, it seems that even the art world has been consumed by Lebron-mania. [SPOOF]
If the voice’s call is the origin of speech – with its ability to hail, summon, or bestow a name – then perhaps the hand, raised to touch, or signal at a distance, is its silent counterpart. These two gestures form a call and response that provides the structure for stylus, a project created by Ann Hamilton for the Pulitzer Foundation for the Arts.
Conceived in response to the Pulitzer’s mission to be both a sanctuary and laboratory, the installation is structured around live acoustic elements and will be punctuated by participatory workshops which will occur throughout the project. This installation offers many opportunities for visitors to interact directly with Ann Hamilton’s work.
Now that Jerry Saltz has proven himself — yet again — to be an attention whore with his stint on Work of Art, I’m starting to like him more … yes, I love a car crash. And just when we were all jonesing for another fix of “What is crazy uncle Jerry up to?” Artist Jennifer Dalton is opening a show today at the Flag Art Foundation called “Making Sense,” which (among other things) is an “ … attempt to make sense of … New York magazine art critic Jerry Saltz’s incredibly popular Facebook page.” Let the games begin …
Does the thought of mini-golf, beer, and wieners excite you? If the answer is yes, then join us for an awesome evening in Jersey City on Thursday, July 22 where you will have more fun with an art work than should be legally allowed.
Xylo is a street artist who has just started mounting fake iPhones to the walls of London. They’re designed to raise awareness about the electronic worker suicides in China and some of the social injustices feeding our electronic obsession.
In recognition of the Fourth of July, I interviewed groundbreaking artist “Dread” Scott Tyler, whose work is directly engaged in challenging public perception of and reactions to US politics and history. He answered my questions about his desire to engage, America’s relationship to freedom of expression today, nationalism, and the lack of critical discourse around his work.
This is an artist’s essay that explores some of the ideas put forward in Powers’ three-part essay, “Art, Not Suicide,” published earlier this week. -Ed. Note
Elastic City Walks Festival returns to NYC on July 7th for six full weeks filled with new immersive performances and sensory experiences and you can get free tickets here.