Fischer Foul?

Is Charlie Finch feeling left out? In his new column on artnet, Finch downplays the New Museum's Dakis controversy--by throwing out several blind items he thinks are even bigger, yet unacknowledged scandals, including a claim he made in his Urs Fischer smackdown two weeks ago that, apparently, no one noticed, cared about, or believed:

The Fischer show is nothing but market driven, specifically by one collector with a heavy position in Fischer who has contributed mightily to the cost of the show and will handsomely reap the awards at future auctions. This is why Fischer provides the gullible, conformist art crowd with a whole floor of shiny boxes bedecked with consumer images, that is nothing more than a dull rehash of Andy's Brillo boxes.

Do you see the difference in subversive mojo between a jarring one-off like [Warhol's] Tunafish Disaster, which continues to project real dread and uncertainty, and a charlatan like Fischer regurgitating the Duchampian template for the cynical purpose of market domination? It's not that difficult, pass me a spare rib.

I can't think of anything less eyebrow-raising than a collector who buys a lot of an artist's work also supporting his museum show. But Finch somehow sees Fischer's case as atypical. So who's the manipulator? Looking at the list of sponsors, it could really be anybody [anybody but Dakis, he says]: I see Peter Brant, Adam Lindemann, Eugenio Lopez, Francois Pinault, Steven Cohen, and David Teiger. Pinault's already given Fischer a show in Venice. Lopez, Cohen, and Teiger aren't really speculator types, at least on Fischer's level or the compressed time frame Finch is hinting at. So that leaves Brant and Lindemann. And Finch's "spare rib" non sequitur could be a reference to Adam.

But then, so what? Adam's not hiding his Fischers; he puts them on his lawn. And he's not ducking the market, either. He backed a gallery, then married one of the partners, and he rather famously netted $15 million by flipping a Koons heart sculpture, via Sotheby's, right back to/through Gagosian. Whoever they turn out to be and however big or small the scandals, Finch's blind items are really just meant to bolster his own insider status when the larger conversation seems to be passing him by.

Since 2001 here at, I've been blogging about the creative process—my own and those of people who interest me. That mostly involves filmmaking, art, writing, research, and the making thereof.

Many thanks to the Creative Capital | Warhol Foundation Arts Writers Program for supporting that time.

comments? questions? tips? pitches? email
greg [at] greg [dot ] org

find me on twitter: @gregorg

post info

recent projects, &c.

Our Guernica Cycle, 2017 –
about/kickstarter | exhibit, 2017

Social Medium:
artists writing, 2000-2015
Paper Monument, Oct. 2016
ed. by Jennifer Liese
buy, $28

Madoff Provenance Project in
'Tell Me What I Mean' at
To__Bridges__, The Bronx
11 Sept - Oct 23 2016
show | beginnings

Chop Shop
curated by Magda Sawon
1-7 March 2016

eBay Test Listings
Armory – ABMB 2015
about | proposte monocrome, rose

It Narratives, incl.
Shanzhai Gursky & Destroyed Richter
Franklin Street Works, Stamford
Sept 5 - Nov 9, 2014
about | link

TheRealHennessy Tweets Paintings, 2014 -

Standard Operating Procedure
about | buy now, 284pp, $15.99

CZRPYR2: The Illustrated Appendix
Canal Zone Richard Prince
YES RASTA 2:The Appeals Court
Decision, plus the Court's
Complete Illustrated Appendix (2013)
about | buy now, 142pp, $12.99

"Exhibition Space" @ apexart, NYC
Mar 20 - May 8, 2013
about, brochure | installation shots

HELP/LESS Curated by Chris Habib
Printed Matter, NYC
Summer 2012
panel &c.

Destroyed Richter Paintings, 2012-
background | making of
"Richteriana," Postmasters Gallery, NYC

Canal Zone Richard
Selected Court Documents
from Cariou v. Prince (2011)
about | buy now, 376pp, $17.99