Posts tagged as:

Robert Rauschenberg

Friday Links: Major Shows Get Major Reviews

by Paddy Johnson on June 9, 2017

Jeff Rosenheim, curator of the Met, is interviewed by Charlie Rose on his major retrospective of the work of photographer Irving Penn. [Charlie Rose]

David Simon, of The Wire, notes that Trump never bothers to find out what Comey knows. He only asks that he stop the investigation. Simon says the guilty never remember to ask questions because they already know the answers. [@aodespair]

Why isn’t Christian Viveros-Faune writing full time at The Times or elsewhere? Is there anyone who can writes prose as well as he does? The latest example of that is his glowing review of the Robert Rauschenberg show at MoMA. He describes the artist as “the twentieth century’s art-gospel-spreading, medium-challenging, style-switching creative Johnny Appleseed.” [The Village Voice]

George Condo has been inspired by the Michael Flynn controversy and is making paintings about it. [artnet News]

Here’s a piece about how collector’s taste change over time. (Collector’s are shying away from former art market darlings like Basquiat.) [The New York Times]

Speaking of the New York Times, what, no art reviews today?

I didn’t think anyone would be able to write an entire feature on Geoffrey Farmer’s installation in the Canadian Pavilion—there’s just not that much to say about a dismantled pavilion, but Craig Burnett proved me wrong. Here’s 2000 words on the subject. [ArtReview]

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Black Is and Black Ain’t in Pace Gallery’s “Blackness in Abstraction”

by Emily Colucci on August 18, 2016

“Black is and black ain’t.” Walking through Pace Gallery’s current exhibition Blackness in Abstraction, I began to think about that title line from Marlon Riggs’s final film—taken from the prologue of Ralph Ellison’s novel Invisible Man. Even more than the pervasive “Black is beautiful,” this curiously ambiguous phrase hints at the multitude of meanings, voices, and questions surrounding blackness in the exhibition.

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We Went to The Armory Show: HOW TO SPEND IT

by Michael Anthony Farley and Molly Rhinestones on March 4, 2016

Michael: Every time I go to a fair I’ve been told is going to suck, I’m pleasantly surprised by the first few works I see and actually like that are somewhat engaging. Then, usually within an hour of arrival, fair fatigue sets in and I want anything to shatter the stifling boredom.
Molly: I’m honestly devastated I didn’t know that the “YOUR MOM” balloons were free for me to take.

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Learning to Love a Shit Show: Jim Shaw’s Americana

by Paddy Johnson on October 7, 2015

The number of artists who make art from found imagery and objects is now too many to count. Tumblrs and blogs are full of it and so too are the annals of art history. From Surf Clubs and The Jogging to Haim Steinbach, Robert Rauschenberg and Llyn Foulkes there’s a near bottomless reservoir of work that was made in one world and plunked into a fine art context.

I thought about this as I walked around the New Museum, mostly in awe of Jim Shaw’s three floor survey exhibition The End is Here. It’s basically two stories of art stuff produced and assembled from 1973 on—paintings, and drawings on the second floor; other people’s paintings, drawings, pamphlets, t-shirts and religious banners on the third floor. The museum reserved the fourth for Shaw’s massive cut-out theatre sets and sculptures.

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Friday Links: Opportunities Edition

by Paddy Johnson and Michael Anthony Farley on September 25, 2015

Detail of a photo by Louis-Ernest Barrias via Installator

We linked to this yesterday in our Interview with Clynton Lowry at Art Handler Magazine, but the Installator tumblr is truly astonishing. The beauty and spectacle of an install pictured perfectly; the copper statue, La Defense, dangling from a crane, the shiny La Grande Madre by Jeff Koons, wrapped and unwrapped, workers deconstructing Art Basel Miami Beach. [Installator]

The Buy Art Fair has just launched in Manchester. Frank Cohen, the “Manchester Medici”, offers advice on buying art. He has some pretty obvious recommendations like “buy what you like” but also encourages new collectors to go for more inexpensive options such as prints. [BBC]

The artist-run space Field Projects has put out an open call for their November 2015 exhibition, curated by Lauren Haynes of the Studio Museum in Harlem. It’s a good opportunity to show in Chelsea or at least make curators aware of your work. [Field Projects]

Endless lawsuits related to art authentication have caused many to avoid offering the service to collectors and dealers altogether. The Andy Warhol Foundation dissolved its authentication board; “One year our legal bill ran up $7 million,” according to director Joel Wachs, “we got tired of giving money to lawyers. We’d rather be giving it to artists.” [Forbes]

For $50, Harvard students living in campus housing can rent prints from the Harvard Art Museums’ collection—including originals from Picasso and Warhol. [NBC News]

In related Boston news, there’s been a lot of social media speculation about the “mystery man” who appeared on the facade of the former Hancock Building. It turns out the vinyl mural is the work of French street artist JR. [The Boston Globe]

This is great. The Robert Rauschenberg Foundation is offering grants for artists to address racial injustice in the US prison system. Applications for the Artist as Activist Fellowship are due December 7th. [The Art Newspaper]

Brooklyn artist Tina Trachtenburg has immortalized the internet-famous “Pizza Rat” in soft sculpture. For $80, you can own one of the artist’s plush rats, but the pizza isn’t included. That’s an additional $20. [Artnet News]

Useless Press is a new publishing collective edited by Sam Lavigne, Adrian Chen and Alix Rule that creates eclectic internet things. So far, they’ve found a data set of decapitated animals and issued a call for proposals to work with this material and published “Call to Wait” a phone line that puts callers on hold for seven years. “Call to Wait” is described as a “long term project”. Anyway, this is brilliant. Here’s a story on another project, Data Drive, which is a paper Facebook. [Flavorwire]

Have an X-Men fantasy to live out? Find your inner Dazzler at a London exhibition by conceptual artist Marcus Lyall, composer Rob Thomas, and designer Alex Anpilogov; where a viewer’s brain waves control lasers. [The Creator’s Project]

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We Went to Chelsea: A Summer Group Show at Gagosian

by Paddy Johnson Whitney Kimball and Corinna Kirsch on July 7, 2014

Pretty much what you’d expect from a summer group show at Gagosian: monumental paintings, many with collaged elements, that you’d find in any major museum or private collection the world over.

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Week Eleven: Dream Exhibitions From Baldessari, LeWitt, Rauschenberg, Laderman Ukeles, Bourgeois, and Schneider

by Corinna Kirsch on January 24, 2014

Each week I ask for new submissions from readers, but this week I decided to step back and highlight a few dream-exhibition precedents. John Baldessari wants to exhibit a cadaver, Sol LeWitt some mini-art shows in matchboxes, and Gregor Schneider, well, he can never exhibit anything he wants.

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Frieze New York: Either Way, We’re Drinking Champagne

by Corinna Kirsch on May 10, 2013

“Greetings from Captain John. There will be no swimming and no diving.” Sailing on the Frieze ferry to Randall’s Island, the driver told us that we were on our way to vacation, but cautioned against letting loose with freewheeling abandon. Once we landed, that ethos seemed to be in effect at the fair itself: dealers and collectors were having fun, and the fair was certainly crowded, but nobody was breaking out champagne in the early afternoon to celebrate skyrocketing sales.

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[IMG MGMT] A Tour of the Monuments of Ridgewood, Queens

by Jennifer Sullivan on September 13, 2010

This February, Jennifer Sullivan moved to Ridgewood, Queens, the second to last stop on the M train. Seven months later it's still strange territory to her, but she’s growing to like it. She considers herself to be a self-appointed artist in residence and volunteer ambassador. This photo essay of Ridgewood monuments document the details of her neighborhood and within it, the objects of her attention.

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