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Yayoi Kusama the 82 year old Japanese conceptual artist renowned for her obsessive repetition of dots and patterns has a major solo exhibition titled ‘Look Now, See Forever’ at the Queensland GOMA. One of the pieces titled The obliteration room 2011, is an interactive project where a large furnished room of stark white is in the process of being covered with various size primary coloured polka dots, applied by visitors (mostly children). The result according to Artinfo is “a hypnotizing variety of colors and patterns taking over the room like highly contagious rainbow chicken pox. The bare white walls, couch, tables, and lamps play up the intense hues of the stickers, which come in a variety of shapes and sizes… crowded groups of dots so dense that the wall isn’t even visible beneath.”
Dear Friends,
“Rising Star of Abstract”
Pride of Dubai, UAE
We take great pride in introducing one of the great artists, #ShumailaAhmed based in Dubai, UAE, India who is associated with #Art Mudra - de Art xpert by Daxa Khandwala (founder of Art Mudra - de art xpert) and will participate in the Art Expo Fair #NewYork #30 March - 2 April 2023.
follow by #daxa_Khandwala
#shumailaahmedarts #savethetdate #abdulrafukhalfanarts #savethetdate #daxakhandwala #artmudra #artexponewyork #artfair #artcall #artgallery #artinfo #artnews #artwork #color #creative #luxuryart #artlegacy #exhibition #artlovers #artist #artforsale #paintings #artcollectors #callforart #artcurators #artiseverywhereyoulook
Photographs of prisoners by prisoners, for prisoners, featuring prisoner created painted photography backdrops. The largest unseen 'art system' subculture in the United States.
Links: BLOUIN ARTINFO CHINA | 监狱有自己的艺术：策展人戴夫·阿尔德谈动人的钟楼囚犯摄影展 | 作者 Chloe Wyma
这可能是全美规模最庞大的摄影亚文化。它不属于艺术市场，也听不懂艺术圈那些饶舌头的黑话。它处在画廊和博物馆的势力范围之外，整体受制于某种机构。监狱肖像摄影，在纽约被称为「咔嚓咔嚓」，是全美几乎所有监狱都在举办的活动。囚犯站在让人开心的手绘背景照相，背景是一些象征着无拘无束的中产阶级生活的小木屋、灯塔、城市天际线和海滩。照片而后会送给外面的亲友。
在纽约钟楼画廊目前正在举办的展览中，戴夫·阿尔德（Dave Adler）——一位在监狱教学的艺术家和批评家——组织了一批这样的照片，同时作为社会文献和艺术品的形式展现出来。在这个囚犯人数比艺术家高出一大截的国家，这样的想法很难不认同。根据2009年的一个研究，全美大约有200万名艺术家。相比之下被关押在监狱里的人则在250万以上；还有600万人受惩教监管。他们的视觉艺术基本上是不为平常人所知的。
阿尔德接受了 ARTINFO 的采访，回答了有关该计划的一些问题，包括他的创办监狱摄影机构的计划。
你是什么时候、如何发现「咔嚓咔嚓」活动的？
我在北边的一个监狱教纪录片和媒体研究课——我自己的专业背景是艺术纪录片——在那我发现了那些给囚犯拍照用的精彩背景片。当时我没太留意。真正「发现」这个活动通过后来在上曼哈顿的一个聚会上和一个监狱牧师的谈话。牧师说那种景片不是一个监狱独有的，整个纽约州几乎所有监狱都有，他们称之为「咔嚓咔嚓」（click-click，这个称呼是只有纽约才有的）。基本的布置就是囚犯站在探视室专门制作的景片前；摄影师也是囚犯。囚犯可以啊拍出来的照片寄给家人或朋友，或者用于平常的用途。他们需要付费拍这种照片。牧师和其他熟悉监狱的人都对这种拍照习以为常，但我觉得这非常值得注意。后来我又得知这种活动是全国性的。
你怎么看监狱摄影的美学？
这些照片是囚犯的，也是囚犯拍的，其美学和艺术世界所熟悉的那种美学基本上不相干，哪怕是「局外人艺术」的艺术世界。在我看来，当下的局外人艺术所赞颂的东西，跟当年局内人艺术没什么不同。例如 Morton Barlett 的作品，他给自己制作的巨型玩偶拍摄的那些古怪的照片。Barlett 毫无疑问是一位伟大的局外人艺术家，但他的癖恋计划从视觉上像是某个如日中天的 YBA 艺术家做出来的。
监狱照片非常非常平淡。布鲁克林画家 Greg Stone 称它们是「逆感官的」，或者「感官的反转」（影射 Saatchi 画廊的那场展览）——这正是这些照片的动人所在。Stone 对我说，在真诚和迫切中，它们产生了一种绘画的力量——一种通常被认为已经陈旧的表现形式。
你在景片里通常能看到哪些比喻？
其中一个是灯塔——这种象征意味很清楚，通常有水以及自然，都是一些囚犯去不了的理想所在。不过同时还有大量的抽象。一个狱警告诉我，由于帮派的标志是很容易被当局识别出来的，体制的压迫的确体现在了画作的内容里。
当然，景片在摄影中的使用有着悠久的历史。非洲和中美的街头艺术家现在还经常使用它们。据我所知，最早使用绘画景片来拍照是19世纪40年代的维多利亚女王御用摄影师，他还把这个想法注册了专利。
在此前的一次采访中，你提出监狱肖像是对由市场驱动的艺术的阻击（至少是一种对比），并说「尤其是在金融危机之后，监狱摄影成为一种通过与众不同的机构框架制作出的艺术品的典范。」你的计划对「艺术世界」亚文化是一种什么态度？
我们都知道，在经济繁荣时期，成功是通过销售来定义的。尤其是当艺术开始借助市场，变成市场的时候。2008年达明·赫斯特的苏富比专场大获成功，就在同一天雷曼兄弟破产，是这种转变到达了顶峰。神奇的是，这种对市场价值的痴迷和认知至今未曾真正改变过，可能是因为艺术板块本身没有遭受金融风暴的侵袭吧。不管怎么说，后金融危机时代，很多人在期待当代艺术能有一个不同的视角。
Jerry Saltz 几个月前在《纽约》杂志的一篇文章中说：「我们已经在这个放满了抗争之水的浴缸了跑了租够多的时间，对艺术的生意已经很厌倦了，有时候感到无助和无聊，想知道还能干点什么。」Jed Perl 在7月的《New Republic》上说：「如今哪怕稍正常一点的人都已经受够了我们这个镏金年代。那么为什么不去看看那些包含着失败、拒绝、自制和黑暗体验的东西呢？黑暗（Noir）是非常当下的。」监狱摄影就是其中一个解决方案——无疑也是符合 Perl 的要求的。
Photos: Dave Adler Archive.
Anthony Lister the 33 year old Australian painter and Installation artist, notable within the Lowbrow art movement, whose work is influences from a number of areas and genres, including street art, expressionism, pop art, and contemporary youth culture, has been featured by Nicholas Forrest in an Blouin Artinfo article titled ‘Aussie Street Art Star Anthony Lister's Grimacing Graffiti Faces Go Global’. Forrest states “…Lister has been taking the urban art world by storm over the past few years with his painterly interpretations of grunge imagery. In well-reviewed exhibitions both at home and abroad, and frequent appearances in leading street-art publications, in 2011 he was also named one of the 50 most collectable artists by Australian Art Collector magazine… So what’s made him so successful transitioning his work from outdoors to indoors? One reason might be the confluence of subversive street aesthetic with high-art draughtsmanship in his work, making his images seem equally relevant and accessible in an up-market gallery as they do on the gritty walls of alleys. Lister is also proficient across a wide variety of mediums, as at home working with pens, stickers and aerosol as he is au-fait with different surfaces. And the subjects of his mainly figurative compositions are just as varied as his materials: sci-fi superheroes, clown-like characters, and licentious ladies appear as often as images of quite ordinary looking people. But the shared characteristics of his work, a signature blend of irony and decadence, are what make them stand out from the crowd; fed from his single-minded work approach. “The first rule of painting is to take everyone else out of the equation. I am the viewer, so I don’t underestimate my viewers,” he explains. “I can’t paint for anyone else.” Later, “it’s all about having the courage to say this is finished... It’s like being a soldier because I have to be hard as fuck to fall in love with these things and let them go.” Inspired by Nicholas Forrest, Blouin Artinfo ow.ly/hnLUY Image source Steve Gray ow.ly/hnMfX
Photographs of prisoners by prisoners, for prisoners, featuring prisoner created painted photography backdrops. The largest unseen 'art system' subculture in the United States.
It is possibly one of the largest photography subcultures in America. It exists outside of the art market and outside of the labyrinthine patois of the art world. It’s beyond the sphere of influence of galleries and museums, delimited by a type kind of institution altogether. Prison portraiture, known in New York as the “click-click” program, is practiced in nearly every U.S. penitentiary. Inmates pose in front of cheerful hand-painted backdrops depicting log cabins, lighthouses, city skylines, and beaches — signifiers of un-incarcerated, middle-class life. The photographs are sent to friends and family on the outside.
Photos: Dave Adler Archive.
Rineke Dijkstra the 53 year old Dutch photographer renowned for her single portraits usually in series of work taking in groups such as adolescents, clubbers, soldiers, recent mothers, or bullfighters; has been profiled by Kyle Chayka in an article published on Artinfo. In the article Chayka states “While working as an editorial photographer on assignment, the artist got into a serious accident. Doctors warned her that if she didn’t exercise extensively she might lose the use of her legs, and so she took to swimming. One day after climbing exhausted out of the pool, she noticed that her eyes were rimmed with red, as if she had been crying. Dijkstra decided to turn that moment into a self-portrait, and the resulting image hangs on the Guggenheim’s gallery wall. …Dijkstra is seen standing against a geometric tiled wall, eyes staring straight ahead at the viewer, worn out yet ferociously self-possessed. It was then that the photographer realized the power of shooting her subjects in moments of distress or suspension, times when the wall between the individual and society comes down and the soul is bared. The strategy pays off viscerally in Dijkstra’s series of portraits of new mothers shot just after birth. The women stand in the hallways of their homes (where Dutch women often give birth) cradling their newborns, faces communicating a captivating mix of shock and bemused joy. … We, of course, are the voyeurs caught spying on their moments of grace. Yet Dijkstra’s accomplishment is that she doesn’t sexualize, idealize, or exoticize what she captures.” Inspired by Artinfo ow.ly/cECZx image source Twitter ow.ly/cEEfe
Ronald Ventura the 39 year old Filipino contemporary artist noted for paintings featuring complex layering, combining images and styles ranging from hyperrealism to cartoons and graffiti has been profiled by Sonia Kolesnikov-Jessop in an article published on Blouin Artinfo titled ‘Filipino Artist Ronald Ventura Is Making Connections Across Cultures’, in which she states “Like many emerging artists, early in his career Ronald Ventura tended to sell everything he produced. Now that his reputation is firmly established and he is dreaming of one day setting up a contemporary art museum in Manila …has found himself in the unenviable position of going back to collectors to buy back key pieces. …says he was stunned to find out how much some of his older works had appreciated. “A couple of years ago, I was looking for a good drawing that I had done. Most of my drawings are usually covered in paint, but I was looking for a drawing that wasn’t. When I found out the price I was shocked. I couldn’t believe it. It was 10 times more than the original gallery price,” he said, his laugh underscoring his mixed emotions at the steep price increase. …The artist has learned his lesson. He says he now keeps one artwork from every solo exhibition. At the rate his pieces are selling, he should. In his latest show, “recyclables,” held at the Singapore Tyler Print institute, 70 percent of the works were sold by the morning of the opening. …Ventura loves nothing more than to subvert familiar cartoon figures, such as Mickey Mouse or a dwarf from Snow White, giving them a “new reality” with the help of a skull or a gas mask. The artist has risen to prominence on the Asian contemporary art scene with complex, layered works that juxtapose unexpected images, often rather dark — internal organs with flowers and butterflies, or a clown and a gas mask — always rendered with exquisite draughtsmanship. He is known for mixing different styles, such as hyperrealism and Surrealism, cartoons and graffiti.” Inspired by Sonia Kolesnikov-Jessop, Blouin Artinfo ow.ly/j4IEo Image source ManilaArtBlogger ow.ly/j4Izv
ARTINFO
By Julia Halperin
Published: March 4, 2011
Chugging for Art's Sake: The Drunken Insanity of Scope's Frat-in-a-Box Performance, By the Numbers
NEW YORK—As you may have gathered from our breaking news item yesterday, ARTINFO stopped by Richie Budd and Will Robison's "Come on Guy" installation at the Scope Art Show — or, as we have affectionately come to know it here in the office, "Frat-in-a-Box". For the performance, the artists invited four New Jersey Greeks, and we're not talking the nationality, into a glassed-in cube to drink beer for hours on end and generally offend any passerby over the age of 40. (Yes, there is a pee bucket in the corner, if you're wondering.)
Although the powers that be behind "Frat-in-a-Box" weren't willing to let this reporter dispatch from inside the cube, we were still able to gather enough tidbits to make you feel as if you, too, were getting drunk in a box at Scope. Here is "Come on Guy" by the numbers:
30: Cases of beer donated to the project by Natural Light, a co-sponsor of the performance
20: Push-ups a pledge was forced to do in a half-hour period
4: Times this reporter witnessed someone utilizing the pee bucket
3: Times participants have vomited (as of this filing)
2+: Security guards needed to escort the blitzed frat boys from the installation at the end of the day
2: Hours before the participants needed to start requesting more beer yesterday
2: Beer funnels that materialized outside the installation, presumably brought from home by Scope exhibitors or staff. (Brandon Hoy, co-owner of Roberta's pizzeria in Williamsburg, was the most enthusiastic funnel-toter.)
1: Frat box fugitives (one participant, feeling — perhaps rightly — like a caged animal, broke out of the box yesterday and ran outside to vomit; he was not asked back)
While there is something slightly odd about art people gathering to make fun of the kids who made fun of them in high school, most of the participants (save the fugitive) seem to be loving the attention. And perhaps they're even learning something about art in the process. "Hey bossman," one said to Budd yesterday. "I'm gonna bring tennis balls and florescent paint on the last day, and we'll throw them all over the walls. Some stupid idiot will buy it and you can have the money."
"Hey wait!" he added, enthusiastically taking the top off a sharpie marker and approaching the poor, captive pledge in the box. "Watch this art."
performance
www.artinfo.com/news/story/37143/chugging-for-arts-sake-t...
www.youtube.com/user/RichieBudd
Photographs of prisoners by prisoners, for prisoners, featuring prisoner created painted photography backdrops. The largest unseen 'art system' subculture in the United States.
It is possibly one of the largest photography subcultures in America. It exists outside of the art market and outside of the labyrinthine patois of the art world. It’s beyond the sphere of influence of galleries and museums, delimited by a type kind of institution altogether. Prison portraiture, known in New York as the “click-click” program, is practiced in nearly every U.S. penitentiary. Inmates pose in front of cheerful hand-painted backdrops depicting log cabins, lighthouses, city skylines, and beaches — signifiers of un-incarcerated, middle-class life. The photographs are sent to friends and family on the outside.
Photos: Dave Adler Archive.
Photographs of prisoners by prisoners, for prisoners, featuring prisoner created painted photography backdrops. The largest unseen 'art system' subculture in the United States.
It is possibly one of the largest photography subcultures in America. It exists outside of the art market and outside of the labyrinthine patois of the art world. It’s beyond the sphere of influence of galleries and museums, delimited by a type kind of institution altogether. Prison portraiture, known in New York as the “click-click” program, is practiced in nearly every U.S. penitentiary. Inmates pose in front of cheerful hand-painted backdrops depicting log cabins, lighthouses, city skylines, and beaches — signifiers of un-incarcerated, middle-class life. The photographs are sent to friends and family on the outside.
Photos: Dave Adler Archive.
ARTINFO
International Edition
In the Air
Art+Auction ’s Gossip Column
April 15, 2011, 1:01 pm
See Cyprien Gaillard Drunk Atop A Pyramid of Beer
Now open at Berlin’s KW Art Institute is “Drinking to Ruin: Cyprien Gaillard’s Pyramid of Beer,” . . . ArtStarsTV host Nadja Sayej swung by the opening to see what this all looked like in practice . . . In her introduction, Sayej brands the KW installation “the conceptual frat house” — we wonder if Gaillard wasn’t inspired by the recent “FRAT IN A BOX” installation at the SCOPE ART FAIR. Is this a new genre? See below for the ArtStars clip:
www.youtube.com/watch?v=sFg6lTAScqI
www.subports.com/blog/frat-boys-subports-richie-budd/
www.artinfo.com/news/story/37143/chugging-for-arts-sake-t...
blogs.artinfo.com/artintheair/2011/04/15/see-cyprien-gail...
Handicraft Meets Industrial Design in the Flow Bamboo Lounge Chair
sea.blouinartinfo.com/news/story/898900/handicraft-meets-...
Lucy Lippard the 75 year old American internationally known writer, art critic, activist and curator among the first writers to recognize the "dematerialization" at work in conceptual art and was an early champion of feminist art has been featured by Chloe Wyma in an article for Blouin Artinfo titled ‘Four Decades After Lucy Lippard's "Six Years," Is Conceptual Art Still Relevant? Wyma states “If you want to understand the stakes of the “dematerialization of the art object,” look no further than the late British artist John Latham’s “Art and Culture,” the entrance piece at “Materializing Six Years: Lucy Lippard and the Emergence of Conceptual Art” at the Brooklyn Museum. The piece mockingly takes its title from mid-century formalist art critic Clement Greenberg’s influential text: An open briefcase reveals a copy of Greenberg’s book, an overdue notice from the library, and vials containing the masticated pulp of its pages. The byproduct of a party where Latham invited guests to chew the pages of Greenberg’s book, the work takes the radical propositions of dematerialization quite literally, turning the bible of formalist art criticism into formless cud. Casting off the cloth of the detached, Greenbergian art critic, Lucy Lippard played a crucial role, not only as a writer, but as curator and collaborator within the diverse artistic activity that’s now catalogued under the rubric of Conceptual Art. As she writes in the forward to the exhibition, Lippard and her circle “invented ways for art to act as an invisible frame for seeing and thinking rather than as an object of delectation or connoisseurship.” In their critique of the art object, they sought to remake the art world as a network of ideas to be shared, rather than a marketplace of objects to be bought and sold.” Inspired by Chloe Wyma, Blouin Artinfo ow.ly/gGWLj Image source Fluxusa ow.ly/gGWJS
Photographs of prisoners by prisoners, for prisoners, featuring prisoner created painted photography backdrops. The largest unseen 'art system' subculture in the United States.
It is possibly one of the largest photography subcultures in America. It exists outside of the art market and outside of the labyrinthine patois of the art world. It’s beyond the sphere of influence of galleries and museums, delimited by a type kind of institution altogether. Prison portraiture, known in New York as the “click-click” program, is practiced in nearly every U.S. penitentiary. Inmates pose in front of cheerful hand-painted backdrops depicting log cabins, lighthouses, city skylines, and beaches — signifiers of un-incarcerated, middle-class life. The photographs are sent to friends and family on the outside.
Photos: Dave Adler Archive.
Photographs of prisoners by prisoners, for prisoners, featuring prisoner created painted photography backdrops. The largest unseen 'art system' subculture in the United States.
It is possibly one of the largest photography subcultures in America. It exists outside of the art market and outside of the labyrinthine patois of the art world. It’s beyond the sphere of influence of galleries and museums, delimited by a type kind of institution altogether. Prison portraiture, known in New York as the “click-click” program, is practiced in nearly every U.S. penitentiary. Inmates pose in front of cheerful hand-painted backdrops depicting log cabins, lighthouses, city skylines, and beaches — signifiers of un-incarcerated, middle-class life. The photographs are sent to friends and family on the outside.
Photos: Dave Adler Archive.
Photographs of prisoners by prisoners, for prisoners, featuring prisoner created painted photography backdrops. The largest unseen 'art system' subculture in the United States.
It is possibly one of the largest photography subcultures in America. It exists outside of the art market and outside of the labyrinthine patois of the art world. It’s beyond the sphere of influence of galleries and museums, delimited by a type kind of institution altogether. Prison portraiture, known in New York as the “click-click” program, is practiced in nearly every U.S. penitentiary. Inmates pose in front of cheerful hand-painted backdrops depicting log cabins, lighthouses, city skylines, and beaches — signifiers of un-incarcerated, middle-class life. The photographs are sent to friends and family on the outside.
Photos: Dave Adler Archive.
Bjarne Melgaard the 45 year old Norwegian artist born in Sydney Australia by Norwegian parents, raised in Oslo, Norway, and now works and lives in New York has been profiled by Julia Halperin in a Blouin Artinfo article titled "The Most Famous Norwegian Artist Since Munch Brings a Buddy to the Armory Show’. Halperin states “Rising art star Bjarne Melgaard is using his critical clout to introduce a relatively unknown Scandinavian painter to New York audiences. …a series of bright, brash paintings Melgaard created in collaboration with Sverre Bjertnes, a fellow Norwegian a decade his junior. …The artists met 15 years ago, when Melgaard gave Bjertnes his first gallery exhibition at a now-defunct experimental space he founded in Oslo. Now, they often work side-by-side. Bjertnes estimates the two have produced more than 300 artworks together. …The new paintings, made especially for the Armory Show, combine Melgaard’s nihilistic, childlike smears and Bjertnes’s studied, academic figures. (The younger artist’s formal style is informed by years as a student of Norwegian realist Odd Nerdrum.) Text, images of sneakers, and shapeless, abstract shapes dance around portraits of cult individuals like Theresa Duncan and Jeremy Blake, fixtures of New York’s downtown art scene who committed suicide within a week of one another in 2007. …a series of paintings devoted to New York dealer Mary Boone. “She is the ultimate dealer, and the paintings are about a relationship with her as this sort of unattainable dream,” Bjertnes said. The largest homage is almost nine feet wide and contains dozens of sketches of Boone’s face and close-ups of her eyes. The words, “The beauty of Mary Boone” are scrawled across the front. A yellow Chanel suit hangs primly overtop. Collaborating with Melgaard, who has been called the most famous Norwegian artist since Munch, lends Bjertnes instant legitimacy…” Inspired by Julia Halperin, Blouin Artinfo ow.ly/j4ybs Image source Rolf Aagaard ow.ly/j4y9T
artinfo.com
"Scope 2012 Tones It Down With Lighthearted Riffs on Art History's Elders"
by Reid Singer
March 9, 2012
Scope New York has been host to some shenanigans in years past. A large part of ARTINFO’s coverage of 2011’s fair focussed on "Come on Guy,” an installation by Richie Budd and Will Robison for which a small group of fraternity brothers were encased in a glass box and made to drink several cases of beer. On a week that saw about a dozen art fairs in New York compete with one another for the public’s attention, the crazy stunt was almost forgivable. After all, you can’t expect to make news if you’re too reverent (excerpted from original article).
www.artinfo.com/news/story/762626/scope-2012-tones-it-dow...
Carson Chan the 31 year old architecture writer and curator has been featured by Alexander Forbes in an interview for Artinfo Berlin about the fallout from the Arab Spring protests on the Moroccan ‘Marrakech Biennale’, which had been “forced into a state of adaptation, rolling with the ever-changing context of the region … [Challenging and reassessing] post-colonialism, and why it's important to break the rules.” In the interview Chan states, “The context of North Africa right now is that it’s a tumultuous area of the world. The people there are really voicing their own sovereignty, their own ambitions, and it’s really exciting to be there… More importantly, I think, is how a post-colonial identity has affected people in Morocco. It was a French protectorate from 1912 to 1956, so French as a language was installed, certain codes of how to operate, what to show, what culture is being expressed was dictated by the French for a long time.”
John Axelrod the 66 year old retired attorney and collector of so-called “Loisaida” art [Latino pronunciation of Lower East Side) artist of 1980s] has been profiled by Judith Gura in an article published on Blouin Artinfo titled ‘Collecting Is a Disease”: Nonstop Art Acquirer John Axelrod Can't Stop Hunting’. Gura states “Visitors entering John Axelrod’s spacious town house apartment in Boston’s Back Bay are met by Myrna Loy, an affable Australian terrier, and an eruption of graffiti art by the likes of Dondi, Crash, and Lady Pink invading an environment of pristine walls, neoclassical moldings, and American modern furniture. Axelrod is passionate about graffiti art, but it is not his first collection; it follows a half-dozen others, all comprehensive. He is not simply an obsessive collector—he’s a serial one. Over a span of four decades he has assembled groundbreaking collections of American prints, European Art Deco objects, American modern decorative arts from 1920 to 1950, Memphis furnishings, African-American painting, and Latin American art. Each collection was accompanied by painstaking research, and each was divested as Axelrod moved on to another category with renewed enthusiasm for the thrill of the chase. “Collecting is a disease,” he explains. “I’m just another sufferer.” He doesn’t look like he’s suffering. A former lawyer and businessman, Axelrod has clearly enjoyed his art pursuits. More important, the outcome of this process has been substantial: All but one of his collections have gone to museums, where they have stimulated additional donations and acquisitions. …Axelrod admits to enjoying the endorsement of museums. “It’s the bottom line,” he says. “Nothing validates what you’ve done like having a museum take it.” Summing up his accomplishments, Axelrod adds, “I think I’ve helped the museums move into areas they might not have gone into, or not with the same depth. That’s my legacy. You made a change: That’s what I’d like as my epitaph.” Inspired by Judith Gura, Blouin Artinfo ow.ly/jBe1R Image source Vimeo ow.ly/jBe0Q
Ashley Bickerton the 54 year old Barbados contemporary mixed media artist living in Bali who combines both photographic and painterly elements with industrial and found object assemblages, associated with the Neo-Geo movement of the 1980s has been featured by Sonia Kolesnikov-Jessop in an article published on Blouin Artinfo titled ‘20 Questions for Bali-based Artist Ashley Bickerton’. Bickerton states “Basically, I had been creating models for the paintings that I was making only to be photographed then left to rot. In irony, half the people who have seen those models have liked them better than the paintings, and have pushed me to realize them as distinct objects. Many estimable folks, including Melissa Chiu and a group visiting from the Asia Society in New York, insisted I needed to realize them as artworks in and of themselves, and not just a prop in the construction of the paintings. I readily agreed, but felt they would be next to impossible to build as they were so detailed with many perishable objects attached including flowers, fruit, cigarettes, insects, and any number of unstable, rusting metals. It was not until Jasdeep Sandhu of Gajah Gallery stopped by and said "I can build these" that the dream became a real possibility. …Jasdeep told me he had recently set up the Yogya Art Lab under the helm of the legendary Richard Hungerford, and with the aid of a deeply talented team of Yogyakarta artists. I knew it would be extremely difficult, but if it was going to be done anywhere on the planet, Yogya was the place. I have to give Jasdeep the credit for great vision and certainly no shortage of guts, he saw it right away and did not hesitate. These new sculptures are quite complex materially. They are primarily in aluminum, with added hair, resin, oil paint, cement, and several other materials. With all their elaborate detailing, they are proving to be exceptionally difficult works, but hopefully with some measure of good luck…” Inspired by Sonia Kolesnikov-Jessop, Blouin Artinfo ow.ly/laTGN Image source Facebook ow.ly/laTbG
Kate Ruggeri the 24 year old American artist, curator, and DJ has been nominated by Blouin Artinfo as an emerging artist in an article titled ‘Painter-Sculptor Kate Ruggeri Finds Heroism in Humble Materials’ by Allison Meier. Meier states “Following a fire that wrecked her studio, Chicago-based artist Kate Ruggeri is persevering by creating work that evokes hope and heroes through the unlikely materials of old clothes, buckets of house paint, and twine. …she’s been experimenting with merging her interests in painting and sculpture into dimensional forms swathed with reclaimed fabric and discarded materials, and coated with thick layers of paint. The results have a scrappy, tactile quality, but also a quiet gravity. … “Joseph Campbell’s monomyth was my main inspiration, since I was little I’ve been interested in myths, adventure stories, and biographies. I don’t think it’s very difficult to identify with a hero at moments in your own life.” …One of Ruggeri’s sculptures, appropriately called “Hero,” strides like a DIY Giacometti, a paint-stained backpack on its shoulders and a walking stick pointing forward. “In the past few months, I have seen great heroics in my friends and community,” she explained. “My roommate had been mugged and shot walking home, and survived. There were a number of tragic deaths in the Chicago community. My studio building had burned down and I had lost all of my work.” … A painter at heart, she started using sculptural constructions as canvases because she was exhausted with looking at blank, flat surfaces. After building a wooden armature, she wraps it with window screens, fabric, found materials, and personal possessions. …“In my work, I try to create homages to human experience,” she said. “I see the viewer on their own journeys, having their own lives, their own struggles, triumphs. It’s a way to be self-reflective.” Inspired by Allison Meier, Blouin Artinfo ow.ly/gSY54 Image source lawnlike ow.ly/gSY33
Jose Parla the 39 year old American contemporary artist painter who assumes several roles in order to create his work; acting as a historical transcriber, and a visual raconteur. Parla has been interviewed by Sara Roffino for Blouin Artinfo in an article titled ‘28 Questions for Narrative Painter Jose Parla’ in which he states in reference to The Wrinkles of the City project in Havana Cuba “is a unique collaboration project [with JR] that involves many components such as location scouting, photography, and painting. Together we created 20 murals throughout the city of Havana. Each mural is dedicated to an elderly woman or man. The project as a whole pays homage to the years or experience and physical appearance of the wrinkles of people’s faces in comparison with the deteriorated walls of Havana that show their own wrinkles representative of the struggle in life, the joy and smiling, all of the layers of the memories in their lives. JR and I both randomly met people in Havana by walking the neighborhoods and asking them to participate in our art project... We collaborated on the composition of the pictures on the murals and later pasted them the size of buildings through Havana while I later painted them by layering transparencies of color on the pictures as well as incorporated my calligraphic style, the stories of each person into the composition of each painting. This project began interacting with the public as soon as we started to work in front of everyone. Many people wanted to talk and ask questions and to be involved in the project. In Cuba there is no advertisement and in the 54 years since the revolution, most of the images you see in the city are of political icons…. For us to make 20 murals of random people was a big deal for people there…” Inspired by Sara Roffino, Blouin Artinfo ow.ly/l5rQb Image source Nuart ow.ly/l5rFQ
Beatriz Milhazes the 52 year old Brazilian artist known for her work juxtaposing Brazilian cultural imagery and references to western Modernist painting, has been profiled by Eileen Kinsella for Blouin Artinfo in an article titled ‘The Secrets to Brazilian Painter Beatriz Milhazes's International Success’. Kinsella states “…They virtually explode with layer upon layer of intricate patterns and wild, rich colors. These derive from a vast variety of sources, including, in her earlier works, Baroque imagery and feminine lace or ruffle motifs that refer to 19th-century embroidery. Among continuing sources of inspiration are the rhythms of Brazilian music and the festive imagery of the Carnival, as well as the tropical flora and fauna of Brazil’s lush rain forests. Her studio in Rio de Janeiro sits next to the city’s botanical garden, and its influence on her practice — frequently studded with blooming rings of petals and elaborate floral designs — is palpable. Milhazes’s later works have less of the spiderwebby patterns and feature more mechanical-looking swirls, circles, and squares. …Milhazes described her work in a 2008 interview in the biannual art review RES as having “a healthy conflict. Many people say, ‘Wow, it’s beautiful,’” she said, “but on the other hand, it’s not a comfortable beauty.” Her meticulous process limits the number of paintings she can produce. Milhazes applies paint to plastic sheets and allows it to dry before transferring the pigment to canvas and then removing the plastic. The result is an exceptionally flat, smooth appearance. “I do not want the texture of the brushstrokes or the ‘hand’ of the painter to be visible on my canvases.” the artist explained…” Inspired by Eileen Kinsella ow.ly/fuJi6 image source Wikipaintings ow.ly/fuJZp
One of the most astonishing works in the show is Thierry Geoffroy's
video "In Advance of the Broken Arm," which depicts the artist and a
team of assistants — all of them immigrants to the Nordic state —
running after the horses of the national royal carriage and cleaning up
their turds. In a window, the turds are presented in jars. The piece
thus pays homage to Duchamp, taking its title from his snow shovel readymade, and Piero Manzoni,
whose famed work "Merda d'Artista," also on view at the Biennial, is
advertised as consisting of his own feces in jar. (A show devoted to
the latter artist titled "Shit or Gold?" is running at HEART through
June as well.)
William Eggleston the 73 year old American photographer who is credited with increasing recognition for color photography as a legitimate artistic medium to display in art galleries has been featured by Julia Halperin in a Blouin Artinfo article titled ‘Judge Rules William Eggleston Can Clone His Own Work, Rebuffing Angry Collector’. Halperin states “Photographers across the country can breathe a sigh of relief. The U.S. District Court in the Southern District of New York dismissed collector Jonathan Sobel’s lawsuit against photographer William Eggleston. The case, art law experts say, has broader implications for all artists who incorporate old photographic negatives into new work — and the collectors who support them. Filed last April, the complaint alleged that Eggleston diluted the value of Sobel’s collection by printing larger, digital versions of some of his best-known works and then selling them for record prices at Christie’s. …The lawsuit was spurred by Christie’s sale last March of 36 poster-size, digital prints of images that Eggleston had shot in the Mississippi Delta more than 30 years ago. Some were created from negatives he had never printed before, while others were based on iconic works… For Sobel, who owns 190 Eggleston works, the success of the sale was part of the problem. “The commercial value of art is scarcity, and if you make more of something, it becomes less valuable,” he told ARTINFO last April. The judge disagreed. Egggleston may have profited from the Christie’s sale, she concluded, but not at Sobel’s expense. Eggleston could be held liable only if he created new editions of the limited-edition works in Sobel’s collection using the same dye-transfer process he used for the originals — a move that would directly deflate their value. In this case, however, Eggleston was using a new digital process to produce what she deemed a new body of work.” Inspired by Julia Halperin, Blouin Artinfo ow.ly/k6Eb7 Image source Facebook ow.ly/k6E3T
December 20, 2012
HUFFPOST ARTS & CULTURE
ARTINFO
The online authority for art news and gallery reviews
A Rundown of Miami's Art Fairs, As Explained Through High School Stereotypes
Posted: 12/04/2012 1:42 pm
By our count, 1,087 galleries will be trekking down to Miami this week to participate in more than 20 art fairs around the city. With that much art for sale, there's bound to be something for everyone -- if you can find it. To help, we've put together a handy primer to Miami's many satellite fairs. But this one comes with a twist.
If the art world, with its constant rumor-mongering and public spats, is a lot like high school, then December in Miami is the high school reunion. At the risk of oversimplifying things, we've paired each fair with a high school archetype that best encapsulates its attitude. We'll be the first to admit these analogies are reductive and inelegant: As anyone who has seen "The Breakfast Club" can tell you, stereotypes are limiting and we're all a little bit of a brain, athlete, basket case, princess, and criminal. But like high school, Miami is cutthroat and time is short, so we've glossed them for you as best we can. Happy fairgoing.
* Scope: The Frat Boy
The frat boy may not technically be a high school archetype, but high schools are filled with future Greeks. Those rowdy, sometimes macho, always devil-may-care personalities are a good analogy for Scope. Plus, in a bizarre example of analogy collapsing into reality, some real live frat boys made an appearance at the fair two years ago in New York. (Artists Richie Budd and Will Robinson invited four New Jersey Greeks into a glassed-in cube to drink beer for hours on end and generally make mischief as part of an art installation called "Come on Guy.") We can't imagine that kind of stunt would fly at any other fair (excerpted from original article).
100 NE 36 Street at Midtown Boulevard, Miami, December 4-9.
www.huffingtonpost.com/artinfo/a-rundown-of-miamis-art-fa...
Sarah Thornton the British Canadian writer and sociologist of culture, writing principally about art, artists and the art market, has detailed a list of the top ten reasons from potentially ‘hundreds’ of reasons for her decision to quit the art market beat. Blouin Artinfo has reprinted two of the reasons, being (A) It enables manipulators to publicize the artists whose prices they spike at auction. Tightknit cabals of dealers and speculative collectors count on the fact that you will report record prices without being able to reveal the collusion behind how they were achieved. …It’s a shame when good artists’ careers are made volatile by speculation. And (B) Oligarchs and dictators are not cool. I have no problem with rich people. (Some of my best friends are high net worth individuals!) But amongst the biggest spenders in the art market right now are people who have made their money in non-democracies with horrendous human rights records. Their expertise in rising to the top of a corrupt system gives punch to the term “filthy lucre.” However, the astronomical prices paid by these guys do have a positive trickle-down effect. When they buy a Gerhard Richter for $20m, the consignor of the painting will likely re-invest some of their profit in younger art (particularly if they are American and keen to defer capital gains tax). These Russian, Arab and Chinese collectors bring liquidity to the art world and allow more artists, curators and critics to make a living in relation to art.” Inspired by Blouin ArtInfo ow.ly/fKgvH image source ow.ly/fKgrd
Terri Ciccone the American founder and editor of ContrappostoArt.com a street art enthusiast blog, has released an article on Blouin Artinfo titled ‘A Prognosis of Street Artist EKG’s Irregular Heartbeat’. Ciccone states “If you keep your eyes open, you can actually see a pulse of New York City everywhere. And I don’t mean “pulse” the way news anchors refer to it … I mean a beat, an ever streaming murmur, a recorded, monitored, living pulse. I mean street artist EKG’s orange heart beat running throughout the city. EKG’s tag, or “html link” as he sometimes thinks of it, is that recognizable blip on a machine that reminds us we’re alive. …More than 2,000 of these orange oil stick lines run along the bottom of walls like mice, and sneak through our feet as they slither down streets, go in and out of doors, run underground and live on beams holding up our subway stations, seeming to trail off into infinity. …And there’s a lot more to EKG’s tag specifically. The idea of symbol recognition is one that’s made a lot of people a lot of money, and one that is very relevant to our time. Think about the difference between the Nike symbol and the Occupy Wall Street tag, OWS. Both are highly recognizable but hold very different meanings. … EKG’s tag is not just another word scribbled in marker on the wall of the C train. It’s a creative reminder of who we are, where we live, and what kind of power our living, breathing bodies and minds can have.” Inspired by Blouin Artinfo ow.ly/dP7rt image source Facebook ow.ly/dP8dY
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Androulla Vassiliou the 69 year old Cypriot lawyer and European politician who is the European Commissioner for Education, Culture, Multilingualism and Youth, known for being very active in social and cultural fields within the UN and EU, has been subject of an article by Coline Milliard for Boulin Artinfo titled ‘We Can't Leave Culture to the Market’. Milliard states “Speaking at the first Edinburgh International Culture Summit, EU culture commissioner Androulla Vassiliou reaffirmed the need for EU states to maintain funding for the arts. "Culture represents a public good in which every citizen has a stake and I believe that the case for public intervention is as strong today as it has ever been: the markets alone cannot deliver all that a civilised society needs," she later said in a press statement. The International Culture Summit … brings together politicians and artists from an array of countries to discuss the role culture can play in encouraging dialogue between nations. …As she inaugurated the summit, Scottish culture minister Fiona Hyslop said that the arts and creative sector were "key to economic and indeed social recovery, rather than a distraction from it," the EUobserver reported. Vassiliou and Hyslop's comments arrive at a moment when most European countries are facing severe art funding cuts. Although the Scottish government only reduced its culture spending by 5% since 2010, the rest of the UK experienced cuts of 30%. The European Union is planning to counteract this tendency by increasing its own culture budget by almost 40% for the next EU budgetary cycle in 2014-2020, bringing it up to €1.8b (£1.41b). The "Creative Europe" proposal is currently under discussion at the European parliament, but it is facing firm opposition from Germany, the Netherlands, and the UK. A final decision should be reached by early next year. If it goes ahead, an estimated 300,000 artists could benefit from "Creative Europe" funding.” Inspired by Coline Milliard, Blouin Artinfo ow.ly/hYDej Image source Marina Ofugi ow.ly/hYDcO
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information d'événement artistique référencée dans artinfos
View of information of artistic event referenced in
artinfos.canalblog.com/
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One of the most astonishing works in the show is Thierry Geoffroy's
video "In Advance of the Broken Arm," which depicts the artist and a
team of assistants — all of them immigrants to the Nordic state —
running after the horses of the national royal carriage and cleaning up
their turds. In a window, the turds are presented in jars. The piece
thus pays homage to Duchamp, taking its title from his snow shovel readymade, and Piero Manzoni,
whose famed work "Merda d'Artista," also on view at the Biennial, is
advertised as consisting of his own feces in jar. (A show devoted to
the latter artist titled "Shit or Gold?" is running at HEART through
June as well.)
Photo Credit: Impossible project film
1. Stephan Roepke GALERIE STEFAN ROEPKE, Cornell DeWitt, Cactus Raaze
2. Patty Tsai, Lauren Gibbs
3. Cornell DeWitt, Kathy Murphy
4. Christina M, Candice B
5. Cornell DeWitt, Leon Benrimon (Benrimon Contemporary)
6. Elle Wu, Catherine Cable
— with PULSE Contemporary Art Fair, Modern Painters, Artinfo and Impossible Project at Tribeca Grand Hotel.
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Dave de Leeuw the 31 year old Dutch artist painter and video installations has been interviewed by Homa Nasab for an article published in Blouin Artinfo titled ‘Q&A with Dutch Artist Dave de Leeuw’. During the interview Leeuw states “Birth, life and death are always quite astonishing experiences, but I like to step out of my perishable self and see a slightly bigger picture. When I see both the sun and the moon in the sky I have this natural urge to figure out the true proportion of this phenomenal triangle of celestial bodies. When I manage to do this and I feel the burning heat of the sun on my face I can experience a fraction of the sheer power and greatness of the universe. And then, I can put my existence in a more realistic perspective again for another day or so. Sometimes I wonder if this is real, because if it is not, then it could be art! …[When asked who was the most influential person in his life, Leeuw stated] Andre Franquin (1924-1997), a Belgian comic artist most famous for his Gaston and Spirou series. As a kid I used to read his comics every night before I went sleep. I remember his drawings as the first works of art that fascinated me. I stopped reading the story to watch the amazing lines he used to make his fantasy world come alive. I didn’t undestand properly how this was possible but I knew this was something I wanted to do too. …The best thing about the art world is the stage you get to show your art, to share the thoughts and feelings you put in your work with others and let them experience this in their own way. …The responsibility of artists is to produce an artificial experience of their ideas and/or feelings. Not only for entertainment, but most important to provoke the mind.” Inspired by Homa Nasab, Blouin Artinfo ow.ly/lMFAE Image source davedeleeuw ow.ly/lMFmS
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Sterling Wells the 28 year old American artist painter and sculptor has been featured by Allison Meier in an article published on Blouin Artinfo titled ‘Artist Sterling Wells Creates Post-Natural Landscape Paintings’. Meier states “When looking at a painting, you lose yourself in an imagined world,” artist Sterling Wells told ARTINFO. Yet his work takes this idea a bit further than most artists, basing his detailed watercolor landscapes on miniature fabricated environments that he builds within his studio. “The falseness connects them to painting, in that I’m inventing an artificial world within a frame, and to entertainment,” he elaborated. “Like watching a movie, going to a theme park, or looking at the dioramas at a natural history museum, I also want my art to be temporarily immersive and transporting.” …He loved working outside where he could become “attuned to the colors of the world, the way the light changes over the course of a day.” However, he became frustrated by the limitations of painting. “I initially wanted to make my own natural environments in order to control the light, and because I wanted to paint a purely natural landscape, but none was easily available,” he explained. “Painting from observation seemed too passive — I wanted to engage directly with the environment, and actively create new realities.” …he builds sculptural environments that he uses as models for his paintings, and also art on their own. He continues to work outside, painting en plein air in the middle of creeks or in the rain with a tarp over his head. Only now he also paints in a studio cluttered with rocks, paint, and warped car parts, where he tends to a small greenhouse and the often post-apocalyptic feeling of nature overtaking abandonment…” Inspired by Allison Meier, Blouin Artinfo ow.ly/gXFTE Image source Facebook ow.ly/gXFSH
Kerry James Marshall the 56 year old American artist painter known for his large-scale paintings, sculptures, and objects that take African-American life and history as their subject matter. His work often deals with the effects of the Civil Rights movement on domestic life, in addition to working with elements of popular culture. Marshall developed a signature style during his early years involving the use of extremely dark, essentially black figures. These images represent his perspective of African Americans with separate and distinct inner and outer appearances, while at the same time confronting racial stereotypes within contemporary American society. Marshall has been profiled by Rachel Wolff in an article on Artinfo, where he states “If you look historically at the way painting has moved from representation to abstraction, the implications of that, in some ways, erased what people can identify as political and social content in a work… one of the quickest ways you can erase what they saw as limitations of ethnicity and race was to do abstract work, and by doing so, you would find your way into the mainstream of the art world. I am trying to demonstrate that there is a great deal of potential left in the black aesthetic and within the specificity of the Black Nationalist position as represented by the colors red, black, and green. That you can transcend what is perceived to be the limitation of a race-conscious kind of work. It is a limitation only if you accept someone else’s foreclosure from the outside. If you go into it yourself, you can exercise a good deal. And you are limited only by your own ability to imagine possibilities.” Inspired by Artinfo ow.ly/cltzw image source Ulrich Musum of Art ow.ly/cltss
Robert Barry the 76 year old American artist renowned for his non-material works of art, installations, and performances using a variety of otherwise invisible media, has been interviewed by Celine Piettre for Blouin Artinfo in an article titled ‘Artist Robert Barry Discusses Working With "Time, Light, and Darkness"’. Barry states “I don’t like this term [Conceptual Artist]. I find it very limiting, as far as I’m concerned in any case. I use materials: time, space, color, words. My work is visual, and not purely about ideas or concepts. …I don’t work so much on language as on words, which I perceive as objects. They have a color, a size. They exist in a given space and time. They have a tangible aspect. Words are also very personal. They come from us and say things about us. They have a story. We all interpret them according to our own experience. I’m always surprised when people ask me this question. I’m interested in words — that’s it. It’s like I painted flowers or landscapes. It’s a personal interest, a work material that offers infinite possibilities. …Video is a natural medium for me. I’ve used it since the beginning of my career. It’s a medium of time — a notion, a material that is truly integral to my work, like light. I like the idea of light emerging from the darkness and plunging into it again. It’s something that everyone experiences. …It’s important to me that there can be different levels of perception, experiences, and time. All these components of the real are combined here: the idea of art, war, light, words, and speech — they work together to make the piece. … In general, I like using music in my work because it’s an art that exists in time.” Inspired by Celine Piettre ow.ly/gwWNu image source TownNews ow.ly/gwWMO