An autumnal offering of Artemisia Gentileschi, Dorothea Tanning, Henri Matisse, and Guston galore, among much, much else.
In three recent volumes, artists express nostalgia for the smaller, scrappier New York art world.
Savinio’s adulteration of old and new was highly influential in the postmodernist revolt against the strictures of formalism.
In his final column for Frieze, writer, painter and star curator Robert Storr calls art writers (himself included) “bottom feeders,” and constructs an elaborate metaphor for writers as the “squid” of the art world — swimming in their own ink. This is the “cruel, Darwinian truth,” says Storr, yet the goodbye column is also a note of support for writers and writing.
In a shocking revelation, appropriation artist Rob Pruitt admitted at a cocktail party last night that his “The Andy Monument” (2011), which was unveiled this week in New York’s Union Square, is actually a statue of Robert Storr, Dean of the Yale University School of Art. This news bomb has spectators around the world scratching their heads, wondering both who the hell Robert Storr is, and why Pruitt would prank the good people of New York in such an elaborate — and shiny — way.
Leon Neyfakh of The New York Observer takes aim at the shit that floats in the art world and boy does he make his case. In “Bullshit Artists,” he quotes curator Robert Storr, who is also the dean of Yale School of Art, on numerous occasions and I’ve never heard Storr sound more insightful …