- Roberta Smith brought her claws to the Met’s new Warhol show, and that’s always a treat. [NY Times]
- …and here’s Jerry, doing an even better job ripping the show apart. The highlight: “By the last galleries I was so dispirited I’d look at the first work I’d see and predict what would come next. Cory Arcangel’s floating-clouds video? Warhol’s floating silver clouds. Murakami’s flower paintings? Flowers. (How’d ya know?) I don’t think I stumbled on a single surprising juxtaposition or one that deepened meaning.” The closing line is even better: “In the future, every museum will do fifteen Warhol shows.” [Vulture]
- AFC’s Eva Heisler came out strong for Manifesta 9 a few months ago, but Adam Kleinman’s less-happy review of the show, for Modern Painters, is worth a read, too. Our one beef: Non-European coal miners are kinda the norm, not a “politically correct” aside, as Kleinman would have it, put in by the curators to make a point. [ArtINFO]
- From the annals of Larry Gagosian’s inbox: first his staff invites collector Thomas Dean to exploit seller Charlie Cowles’ desperation and “make a cruel and offensive offer” on a Lichtenstein, and now he fails to show up to the related hearing. Gagosian is now being sued by Jan Cowles, Charlie Cowles’ mother, for selling the painting without her permission. Gagosian claims he was too busy to show up. [NYPost]
- According to artist and Occupy Wall Street activist Molly Crabapple’s Twitter feed she was arrested yesterday for standing on a sidewalk during an Occupy protest. Most recently, the artist was one of more than 20 artists CNN invited to make work about the election. Today, Crabapple was included in CNN’s slideshow of photographs documenting the OWS arrests. [CNN]
Links: Gagosian and Molly Crabapple Walk Into a Courtroom…
by Will Brand and Paddy Johnson on September 17, 2012 · 3 comments Massive Links
{ 3 comments }
For another review of Manifesta 9, check out Leigh Markopoulos’ excellent summary on Art Practical. Snip:
“In a similar way, Manifesta 9, by attempting to blur the boundaries of
art and industry, unfortunately instead raises the question of what
art or curators really have to offer as socio-political critique…
The second floor is mainly the purview of the art
historian Ades, who undertakes an investigation into the intersections
between mining and art history and presents artworks in a variety of
media. A somewhat over-scrupulous adherence to the theme renders the
overall effect one of a Google search for ‘coal + art.'”
http://www.artpractical.com/feature/a_quinquennial_and_two_biennials/
Funny, just read the Manifesta review. It doesn’t say that non-EUR
miners are not the norm–as per your bone to pick– but it say that
blending Turkish and Belgian miners in a multi-culti way is politically
correct.
The implication of “politically correct” is that you’ve gone out of your way to accommodate some group for no particularly good reason, or else sacrificed something for the sake of not causing offense. I don’t think the curators put prayer rugs in the show to avoid protests by Turkish coal miners, because that doesn’t make any sense. I think they put miner stuff next to other miner stuff, like they put coal-related sculpture next to coal-related drawing. Putting separate but related things in the same space isn’t being politically correct, it’s just curating.
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