Jeff Koons really does view his art as an enlightenment project. “I still have, I hope, at least three decades, maybe four decades to continue to make work and to try to exercise the freedom I have as an individual to really obtain as vast a parameter and a greatest closeness to enlightenment that you can have.” [BLOUIN Artinfo]
Jeff Koons sees the flower dog as a work about loss of control and giving in to nature. He took two decades to make the Play-Doh pile. [BLOUIN Artinfo]
New York’s ban on big sugary drinks has been quashed by the New York State of Appeals. That’s the end of that Bloomberg initiative. [The New York Times]
Jeff Koons is a robot alien. When asked how involved he is in the production of his work he says, “The work is a total gesture to me.” When asked whether art has defined his life he says, “From the time I was a child, I developed a sense of self through art.” Nothing new in this interview, but for those who aren’t aware of the weirdness of Jeff Koons’s statements, this is the most recent example. [Time Out]
The Atlantic Yards Project (the project containing the Barclay’s Center) was originally supposed to include thousands of affordable apartments. 11 years later, developer Forest City Ratner never delivered on those plans. It’s now being forced to get it done. If it doesn’t begin development next year, it pays a $5 million fine. [The New York Times]
Dragons fucking cars: idiotic, but, at least, practically think-piece-proof. [Vocativ]
AFC’s Corinna Kirsch tells her story of “surprise visits” from CEO Dov Charney while she was working at American Apparel. A thoroughly enjoyable read. [The Awl]
Jerry Saltz spells out the difference between Koons then and now. Context and history are meaningful:
Watching Koons between 1985 and 1992 was like being on a roller coaster, beholding the readymade crossed with greed, money, creepy beauty, and the ugliness of our culture…Everything about him was played out in public: the hype, the high prices, the collector love, the critical cringing, his Twinkie-like quotes, like “It’s like I have God on my side or something,” and the almost-career-killing spectacle he put up in 1991, the show of enormous photographic paintings of himself with waxed chest and having anal sex with his porn-star ex-wife, Ilona Staller. In part owing to Koons, art in general regained the power to show us what Wallace Stevens called “the possible nest in the invisible tree.” Koons helped art reenter public discourse while also opening up the art world. A generation of artists and gallerists who had similar aspirations took the stage to excellent effect in the 1990s. That’s when their world began to mutate into what it is today.
Which is what? The very environment he did so much to reengineer, followed by the mad amplification of the luxury economy, has meant that Koons’s art now seems to celebrate the ugliest parts of culture. [Vulture]
Looks like Paddles ON! London, is on its way to replicating the strides made during last year’s much-discussed net-art auction, the first at a major auction house. Last fall, the auction held in New York at Phillips totalled $90,600 on the sale of 16 pieces out of 20 lots. People widely lauded the auction as a success—a GIF sold for $1,300 and the excitement from the live auction crowd was palpable—but financially, the case for Paddles ON! achievements aren’t clear cut. Nine of the works sold for less than their estimated bids, and four of those were bought in by the auction house.
While Bushwick Open Studios inspired some pretty harsh criticism on this blog, we did leave the galleries with plenty to recommend. We saw shows at the NEWD Art Show, Interstate Projects, and English Kills.
Hauser Wirth + Schimmel, the Sterling Cooper Draper Price of the art world, descends upon LA with a 100,000 square foot building in a gut renovated former flour factory. Is the art world shifting its center? [Artnet]
We’ll be following Carolina Miranda’s new culture blog at the LA Times for the answer. [LA Times]
The above Mad Men comparison was ripped off from Christian Viveros-Fauné’s review of Lucien Smith, whose show he believes smacks of calculated career moves. As usual, there’s no shortage of quotables, but here’s a line that made me laugh so hard I snorted tea out of my nose: “Smith, along with a singularly opportunistic generation of twenty- and thirtysomethings — call them the Opportunists — produce paintings tailor-made for the market.” [Village Voice]
“The worst cases require the worst tools,” says Dragan Espenschied, Rhizome’s digital archivist, when referring to the problem of preserving art criticism on Facebook. Espenschied has come up with a way to archive your actions in a browser which requires an individual to access Facebook through a proxy server that would record data from their interactions. As Tom Moody brought up in the comment thread to this post, it doesn’t solve the problem of privacy settings, which affect what a user sees, but Kaplan says Rhizome is working on it. [Rhizome]
Salvador Dali wrote a cookbook! The book costs $350 on Amazon, but Brainpickings has published a few of the recipes, such as Conger Eel and “Thousand Year Old Eggs”. This of course comes with grotesquely exaggerated faces and self cannibalizing food. [Brainpickings]
Jorge Daniel Veneciano took over as director at El Museo del Barrio in March, and in the three months he’s been there he’s closed the half million dollar budget deficit that had plagued the museum. Now to avoid the dull drums. Holland Cotter discusses the new programming noting that it’s a solid but conservative lineup. [The New York Times]
Time: a universal topic in art, but especially prominent in this week’s art events. Thinkers Tacita Dean, R. H. Quaytman, John Powers, and Marco Antonini are just a few who will be taking on time as subject matter.
It is also time to start planning for Bushwick Open Studios. This post covers the several Bushwick galleries and satellite fair which will be opening for this week’s massive open studio walk. Coming up next: AFC’s picks for artist studios. Stay tuned!
Man in the Mirror, Image courtesy of http://www.fanpop.com
A 150-point listicle that attempts to create a schlock song cannon. Michael Jackson’s “Man in the Mirror” takes the 23rd position. Boyz II Men’s, “End of the Road”, takes #26. This is a thoughtful listicle! [Vulture]
Charles Saatchi plans to sell Tracey Emin’s My Bed at Christie’s. Though she thinks its valuation at ~£1m could put it out of reach of museums, Emin hopes this is the last time it’s sold. “It’s still my bed,” Emin tells The Art Newspaper. “I love it.” [The Art Newspaper]
Famed choreographer William Forsythe is stepping down from the helm of his own company, Forsythe Dance Company. [ArtsBeat]
Tiernan Morgan criticizes Jayson Musson’s show at Salon 94 for being not specific enough in their critique of the art world. [Hyperallergic]
Around the country, 50,000 billboards will be transformed into art. [Fast Company]
An article mostly without a point, but perhaps about MoMA’s expansion? The whole piece seems to be built on wrong headed assumptions and is backed up by anonymous quotes without any explanation for why they are anonymous. [Quartz]
Looks like Creative Time’s seeking more unpaid volunteers to basically act as security guards for its massive Kara Walker show. This, one month after it raised $1.3 million at its benefit fundraiser. [NYFA]
Godard made a 3D film, and people are freaking out. Rhett Jones reports that one shot, which makes people’s eyes inadvertently cross, blew away Cannes audiences so much that the entire audience stood up and applauded. [Animal New York]