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Posts tagged as:

Marina Abramović

Wednesday Links: News Is For Monkey Kings

by Paddy Johnson Whitney Kimball and Corinna Kirsch on May 8, 2013

From Alex Bag & Patterson Beckwith's "Unicorns & Rainbows"

  • “Long may the monkey king ride the seas of commerce on his dolphin, and long may Gagosian attend him.” Jonathan Jones on why Jeff Koons is a better artist than Damien Hirst. [The Guardian]
  • There is at least one performance artist in the world who is bankrolling it, and now she has bought a $2.65 million apartment in SoHo. Dayum, Marina. [Curbed NY]
  • Postmasters has moved across the street from Kansas in Tribeca. They’ve got a 4500 square foot space. [Postmasters]
  • The saga that never ends: Eugenia and Nicholas Taubman are suing the Knoedler Gallery, Michael Hammer, Ann Freedman, Glafira Rosales and Jose Carlos Bergantinos Diaz alleging they were sold a fake Clyfford Still for $4.3 million. This is one suit of many that have been lodged recently against Knoedler. [Justia Court Dockets and Filings. Via: Baer Faxt]
  • Alex Bag and Patterson Beckwith have released a series of clips from their late-night mid-nineties public access show “Unicorns & Rainbows.” There’s not exactly one stand-out here, but if you like the grunge over cute baby animals, then this is your program. [Sex Magazine] Also, Petland’s sign hasn’t changed in 20 years.
  • Sotheby’s held its Impressionist and Modern Art sale last night and Paul Cezanne took home the top-selling lot with his 1889 still-life Les Pommes. Those are some $37 million dollar apples. Also to note: LL Cool J was there.  [Artnet Tumblr]
  • Stranger danger! If left unattended, your house painter just might steal your Picasso. [The Wall Street Journal]
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Thursday Links: Incremental Progress

by Paddy Johnson Whitney Kimball and Corinna Kirsch on March 28, 2013

  • Do not mess with art critics; you might get sued. At least that’s what happened when Danish artist Kristian von Hornsleth pasted art critic Camilla Stockmann’s face into a pornographic collage where she’s the center of a gangbang. Those real mature antics didn’t get Hornsleth anywhere except court. Now, judges have found Hornsleth guilty of copyright infringement for using Stockmann’s image without permission. [The Art Newspaper]
  • We are now living through the second golden age of American philanthropy. Is this a good thing? A democratic society is committed, at least in principle, to the equality of citizens. But foundations are, virtually by definition, the voice of plutocracy. A thorough look at the pros and cons of these organizations. #longreads. [Boston Review]
  • Kriston Capps calls Pritzker Architecture Prize after a change.org petition launched demanding that Denise Scott Brown be retroactively recognized; the contributions she made, led to her husband to win the prize in 1991. Apparently, Mr. Pritzker has “taken it under advisement.” [Architect Magazine]
  • Gallerist writes an enormous profile on Julian Schnabel, but can’t get his ex-wife, artist David Salle, Pace Gallery’s Arnold Glimcher, Dealer Mary Boone, and a number of other friends from the 80’s to talk. A significant amount of the story is dedicated to fleshing out Schnabel’s enormous ego. [Gallerist]
  • Anthony Huberman has been appointed Director of the CCA Wattis Institute. He fills the position recently left vacant by Jens Hoffmann, who took on a Deputy Director position at the Jewish Museum in November 2012. [e-flux]
  • Have you ever wondered who keeps on refilling Felix-Gonzalez Torres’s candy sculptures? Time Out Chicago critic Lauren Weinberg fills in the gaps. [Time Out Chicago]
  • The Marina Abramovic Doc won a Peabody Award, reports Michael Miller, the oldest award in broadcasting. She joins the ranks of Judd Apatow, Lena Dunham, Lorne Michaels, and Louie CK. [Gallerist]
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Marina Abramovic, Still Not a Feminist

by Whitney Kimball on June 13, 2012
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HBO’s Marina Abramovic documentary opened today at Film Forum, and it was accompanied this morning by a brief interview in the New York Times. In addition to talk of boob jobs and funerals, Abramovic reminds us, once again, that she’s still not a feminist.

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Art Fag City at The L Magazine: The Whitney Biennial, A Failure of Curation

by Paddy Johnson on March 15, 2012
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As seen through the eyes of the Whitney, the last two years of American art-making were defined by an enormous amount of mediocre abstract painting, a complete lack of nuanced emotion, and sculpture that mostly looks like nothing. You and I both know that isn't true.

Given the disorganized arrangement of works on display at the Whitney Biennial, though, one can't help seeing much of its work in an unflattering light. I know I keep beating this drum, but curators in this city—starting with Biennial organizers Jay Saunders and Elizabeth Sussman—need to pay a lot more attention to exhibition design, on- and offline.

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Sundance Film Festival Art Highlights: Dog Orbits Earth, Abramovic “The Artist is Present” Doc Debuts

by Reid Singer on January 6, 2012
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Cold weather, Robert Redford, and an excuse to turn off our phones for at least six hours a day. These are just a few of the attractions awaiting visitors to the Sundance Film Festival, which kicks off in Park City, Utah in two weeks. From the looks of the 2012 program, we should expect an array of precocious documentaries, trippy animated films, and bourgeois coming-of-age maneuvers (for some reason, they’ve decided to re-screen “Reality Bites”). It is, in short, an uneven mix of pyrite and gold.

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What Actually Happened at The LA MoCA Gala

by Reid Singer on November 14, 2011
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The donor gala at the Los Angeles Museum of Contemporary Art went off yesterday, and more or less without a hitch. It was a Jeffrey Deitch kind of night, eliciting reactions that run exactly parallel to how people feel about Jeffrey Deitch. If Deitch’s penchant for campy spectacle is not to your taste, then you probably found the treatment of naked performers distasteful. If you admire Deitch’s approach to fundraising and attention-farming, then you’d likely describe the donor gala as a success. If you’re often overcome by imbalances of power and capital in the art world, then you won’t overlook how Deitch’s employment of Abramovic, a fellow art superstar, discouragingly affirms that order.

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Yvonne Rainer’s “Salò” Reference Is Hyperbole

by Reid Singer on November 11, 2011
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Sirens are sounding as word has spread of a letter written by choreographer Yvonne Rainer to LA MoCA director Jeffrey Deitch. Rainer isn’t happy. Dismayed after hearing details of the performance artwork organized by Marina Abramovic set to take place during a donor gala for the museum, she describes the planned performance as “degrading” and “grotesque,” denouncing Abramovic’s project as “another example of the Museum's callousness and greed.” In her letter to Deitch, Rainer writes that the work of art taking place during the gala to something ‘reminiscent of ‘Salò.’”

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Mining The Art Fag City Comment Section: The Return of Rashaad Newsome and Marina Abramović

by Paddy Johnson on July 27, 2010
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Looking for additional conversation on Rashaad Newsome’s The Conductor (Fortuna Imperatrix Mundi) (2008), on view at PS1 Greater New York? The blog produced two of its most productive comment threads on the subject a couple months ago, before Catalogue Editorial Assistant Rachel Wetzler threw this Newsome interview into the mix. Newsome discusses most of the [...]

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Marco Anelli: The Photographer is Also Present

by Paddy Johnson on April 23, 2010
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34 min., Marina Abramović: The Artist Is Present, Photo by Marco Anelli. © 2010 Marina Abramović I’m not sure Marco Anelli’s photographs of the sitters in Marina Abramovic’s performance at MoMA are worth more than the rounds they’re making on the internerds, but there’s a good chance they are. They are surprisingly powerful. Abramovic, who [...]

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