George W. Bush: still a painter. He plans to move beyond the dog, landscape, and self-portrait genres; he now wants to paint “world leaders.” [The New York Times]
A website that recreates the Super Mario Bros. video game from open-source software has been taken down; Nintendo wants the site taken down, it must “protect against infringement of our intellectual property rights.” [The Washington Post]
According to a new formal complaint by former Knoedler & Company gallery clients, an artist going by the nickname of “Tommy Cha Cha” may have been the first “known purveyor in forged art” to do business with the gallery. [The New York Times]
President Obama, now a blogger on HuffPo. Well, kinda. He penned an op-ed urging congress to pass the Employment Non-Discrimination Act. [Politico]
Patti Smith eulogizes Lou Reed, calling him “our generation’s New York poet, championing its misfits as Whitman had championed its workingman and Lorca its persecuted.” [The New Yorker]
Leonardo DiCaprio, will you please come to our benefit? Another DiCaprio-attended fundraiser nets millions! This time for LACMA. [The L.A. Times]
Stephen Koch is the author of The Modern Library Writer’s Workshop, The Breaking Point and Stargazer: The Life, World and Films of Andy Warhol. He is also an educator and owns and manages the archive of the tortured, downtown photographer Peter Hujar. We spoke at length about Hujar’s life—his friendship with Fran Lebowitz, Susan Sontag, his relationships with Paul Thek and David Wojnarowicz, and even his strained relation with Robert Mapplethorpe. The interview touches on the work Koch has done over the past twenty-five years, raising the late underground hero from self-imposed obscurity to widespread recognition.
The Cat Show at White Columns has everything and nothing to do with cats. Everything, because most of the 134 artworks show cats or cat-related ephemera—like litter boxes, scratching posts, or yarn. Nothing, because the themes of many of these works aren’t about cats at all.
Richard Artschwager, Photo: Rachel Chandler, Courtesy David Nolan Gallery (Image courtesy of ayearofpositivethinking.com)
Richard Artschwager’s last major work was a design for four elevators for the new Whitney Museum. They’re based on six motifs which appear often in his work: door, window, table, basket, mirror, and rug. “When visitors enter they will find themselves standing under a table, on a rug or in front of a mirror,” writes the Times. “[T]hey will also be opposite a door, next to a window or floating in a giant woven basket.” [NYTimes]
Vogel also reports that Maryland’s Glenstone Museum has begun a major expansion. [NYTimes]
Amanda V. Wagner tells young artists not to move to New York City until the time is right. There’s a picture of me alongside Patti Smith, which is possibly the most flattering juxtaposition this author’s ever been graced with. (PJ) [Art Attack]
LACMA’s twice failed to raise sufficient funds for their reconstruction and expansion efforts, but as their Director Michael Govan tells it, this time’s different, because their new design’s “worth it”. And maybe it is. According to reporter Carolina Miranda, Peter Zumthor’s proposal is a radical departure from traditional museum design. There’s no grand staircase or main entrance, so no single type of art takes priority. Sounds like a building that responds to increasingly multidisciplinary practice. [Architect]
Not sure what Andrew Goldstein actually thinks of the Tino Sehgal Golden Lion win at the Venice Biennale. His analysis is mostly description. He seems to like the silver Lion winner, Camille Henrot, and National Pavilion winner, Angola, which showed the work of Edson Chagas and we agree with him on both. [Artspace]
Hyperallergic got an interview with Karen Finley, who was the face of the NEA Four scandal in the nineties. They discuss how her work relates to celebrity and sexuality. [Hyperallergic]
VICE got a tour of Richard Prince’s house, which, it turns out, is a pretty normal experience of a rural town where there’s nothing to do. “There’s not much to do in this town,” we’re reminded repeatedly. “I’ve always liked this road,” he tells us on the road. He walks us through his drawing process. No surprises there. [VICE]