PARIS — In a search for art that reacts to the inequalities of globalization, must art lose touch with the sort of grace that exceeds the hand, a grace that couldn’t be anything but artificial and technological?
The great iconoclastic painter Peter Saul, for the first time ever, has turned his hand to curating, gathering together nearly two dozen kindred spirits for a show that revels, as to be expected, in the libidinous and the ravenous, the stunted and the scared, the blinkered and the grotesque — that is to say, humanity. The effect, as to be expected, is sublime.
Imagine for a moment that in the days after Johannes Vermeer’s death in 1675, that his widow Catharina and eldest daughter Maria, sitting in a darkened room of the Vermeer home, conspired to settle their numerous family debts in a secretive way. Owing their baker the largest sum of money, the widow and her daughter would give up two of the Master’s last paintings to settle their debt. In a theory developed by Cooper Union art history professor Benjamin Binstock, the two debt-settling paintings were actually the work of the daughter, Maria Vermeer.
We finally have a response from Chuck Close regarding Scott Blake’s FreeChuckCloseArt.com filter.
When one of the world’s richest living artists orders you to stop making art, you do it. Or do you? That is what Chuck Close has done to me. In response, I have developed a 100-year plan that will allow my digital art to outlive any threats of legal action.
According to the LA Times, Chuck Close, Laddie John Dill and the estate of sculptor Robert Graham are suing the world’s largest auction houses, Sotheby’s and Christie’s, for royalties they say they are entitled to under the California Resale Royalty Act.
Mana Contemporary and the Eileen S. Kaminsky Family Foundation have a meticulous show of photorealist artwork, titled Our Own Directions. The exhibition, on view from now until January 2012, features painting, sculpture and photography from the private collection of Louis K. and Susan P. Meisel.
In Patrick Griffin’s recent exhibition at The Journal Gallery in Williamsburg, Common Courtesy, he focused on an unusual subject matter: the plastic bag. If you live in a major city then you are more than familiar with these little guys; they accumulate under your sink, get stuck in that storm drain you always walk by on your way to work and blow urban tumbleweeds across the street at all hours of the day and night. Though the artist’s focus is playful and somewhat off kilter, his approach to this body of work seems almost scientific. Griffin collected, catalogued and scanned an army of plastic bags into the computer. Using this databank as his starting point, the artist made paintings directly from the two dimensional planes of these photographs.