Original image removed at the request of the Helmut Newton estate.
- Model Naomi Campbell will have her own retrospective during Art Basel Miami, 2008. On display at the second annual exhibition In Fashion Photo, pictures presumably of Campbell’s face et al will soon take center stage. Vogue provides a rather choice quote from founder, Francois Trabelsi on the up coming show,
- In other celebrity news, Chloe Sevigny sleeps over at the Guggenheim! Those who wish to follow suit may do so for up to $549 a night. This has the sound of the poorly executed Whitney Biennial dance party, but I’ll reserve judgment until I see it.
- Because you can’t read enough about Gilbert & George, Howard Halle at Time Out New York and Holland Cotter at the New York Times both review the show. They enjoyed the show more than I did.
- An exceptionally excellent description of Mary Heilmann’s paintings at the New Museum from Peter Schjeldahl,
- Last, from my email to you: Effective Saturday November 1, Bond Street Gallery closes its doors.
“The time of art speaking through only painting and sculptures is over. Today photography is one of the most artistic representations of both society and contemporary art as it captures raw emotion and immortalizes a moment in time.”
I can’t say I don’t have my doubts about a show that captures “raw emotion” in the fixed sex appeal of a super model, but at least we know what we’re in for. Interestingly, Geoff Dyer, a self-professed non expert in the field of fine art, and author of The Ongoing Moment, a book examining photography by subject, never thought to consider Naomi Campbell for his essays. Perhaps he doesn’t find super models as subject matter all that compelling. The exhibition will include 250 photographs by artists such as Gilles Bensimon, Bruce Weber, Patrick Demarchelier, Nick Knight and Ellen Von Unworth
Generally fast and loose, Heilmann’s paintings have many looks: Abstract Expressionist, Ã la Mark Rothko or Joan Mitchell; geometric, in neo-Neo-Plasticist veins; color-fieldish; minimalistically grid-based; experimental, with shaped canvases and multi-panelled formats; and handsomely declarative, like something by the masterly Ellsworth Kelly (who recently was quoted as saying, “I’ve always felt that Mary Heilmann is the best of the new abstractionists”). She is a formalist impatient with formal consistency. When she lingers with any one sort of picture, it is usually because she is smitten by a certain combination of colors: seaside blue and white, punkish pink and black, Mexican-serape-like polychrome, or jangling tertiaries derived from the television palette of “The Simpsons.” (“Lovejoy Jr.” was inspired by the parody of stained-glass windows in the cartoon family’s church.) Heilmann’s most unmistakable quality is an insouciant disregard for the compressive limit of the canvas edge, which points up her experience as a glazer of the continuous surfaces of pots and cups, lots of which are in the show.