The British painter Denzil Forrester, who is currently showing at White Columns, talks about how he made art and was a fly on the wall at reggae and dub music venues.
One of the most bizarre art authentication cases in recent memory came to a close yesterday with a federal judge’s ruling that Peter Doig did not paint a desert scene signed “Pete Doige 76.”
The settings and characters in Peter Doig’s newest paintings, now on view at Michael Werner Gallery, are at once strange and somehow totally familiar, like scenes from myths or dreams.
We’re growing accustomed to the auction world’s desire to be perceived as cool. First it was skateboarding videos, then selfies, and now “breaking news” via Instagram.
I have always thought it unfair that Peter Doig is chiefly known for the headlines associated with the sale of his “White Canoe” painting by Charles Saatchi at auction in 2007 for £5.7 million ($9.31M). This made him Europe’s most expensive living painter and the acknowledgement was accompanied by all the market-related press and interest that such titles generate.
Last Sunday night, on the occasion of the exhibit Chagall: Love, War, and Exile on view at the Jewish Museum, Jordan Kantor a painter and professor at California College of the Arts, hosted an intimate panel looking back at painting since the death of Chagall to the present.
Washington, DC is a great museum town. During my dozen or so trips over the years I have yet to see all the Smithsonian institutions so I didn’t feel the need to ventured far from The Mall for my art fix. This time I avoided the Smithsonian all together and headed for one situated in the Dupont Circle neighborhood of the city, The Phillips Collection. This jewel box of modern art — and not soo modern — avoids -isms so you ended up encountering the art of 19th C. America to 20th C. France or 17th C. Spain in just a few steps.