May 25, 2006
Yeah, I've got a post about the MoMA gig with Jim Mangold on Tuesday, which was a lot of fun. Great guy. But first, this picture from Curbed, which was taken on 21st Street between 10th and 11th Avenues: Now compare it to this 2003 shot from the same block: In the end, we're all just food for worms, boys, warming the bench until Miuccia comes. Art is in the Eye of the Property Holder [curbed] Elmgreen & Dragset, Opening...
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12:44 PM
May 16, 2006
You may know Brian Sholis from such venues as Artforum and his as-time-permits blog, In Search of the Miraculous. Brian just posted some behind-the-scenes shots of the first of twelve installations Olafur Eliasson's doing at Portikus, the Frankfurt art space. As anyone familiar with Olafur's work knows, the behind is usually as important as the front. A sneak peek at Olafur Eliasson's 'Light Lab' [insearch]...
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01:56 PM
May 11, 2006
After conducting the biggest contemporary auction in Sotheby's history, Tobias Meyer told Artforum's Sarah Thornton, "The best art is the most expensive, because the market is so smart." Uh-huh. This is the market that paid a million-one for a generic Yoshitomo Nara painting just because it's big. Meanwhile, one of the last Robert Smithson non-sites in private hands--and artist hands at that, the piece was being sold by its original owner, Keith Sonnier--sold for just its high estimate, $374,400...
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08:37 PM
May 04, 2006
1) Truckload of Missing Art Found in Trailer Park, by Alan Feuer, NY Times. 2) A-- Actually, we have winner right there....
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06:27 PM
May 02, 2006
Considering it's an architecture magazine, I'm surprised there's no mention of his architectural interventions, like turning rooms into cameras obscura [sp?] or cutting holes in the roof to make like a sundial. Never mind Olafur's proposal for a new music hall in Iceland. Still, it's a good intro. Optical Magic [metropolismag.com]...
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08:42 AM
May 01, 2006
While he's been actively posing questions about vision and perception and exploring the relationship between the seen/felt/experienced and reality, I've still had a sense of Olafur Eliasson as a sculptural artist. That object/space/experience thing. And I mean that, even though it's photographs looming over my shoulder as I type this, not stainless steel artichoke-shaped kaleidoscopic pavilions. But after seeing his new show at Tanya Bonakdar Gallery over the weekend, Hal Foster's phrase "cinematic delirium" stuck in my mind. Foster used...
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Posted by greg at
08:43 AM
April 27, 2006
You'd never know it from the market today, but according to the Guardian's Jonathan Jones, art and money do NOT go well together. That's his explanation for why Damien Hirst sucks so bad these days--because he has £100 million--and he's sticking with it. Same thing happened to Dali and Warhol, the chumps. Got all caught up in the money and the fame and the trappings and neglected the art. OK... never mind that alongside his sellout portrait factory, Warhol did...
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Posted by greg at
10:17 AM
April 21, 2006
Just came across the transom from e-flux:Serpentine Gallery and e-flux announce Agency for Unrealised Projects (AUP) For every planned project that is carried out, hundreds of other proposals by artists, architects, designers, scientists and other practitioners around the world stay unrealised and invisible to the public. Agency for Unrealised Projects (AUP) seeks to document and display these works through publications, a developing archive and a physical office, in this way charting the terrain of a contingent future. Unlike unrealised...
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Posted by greg at
08:07 AM
April 12, 2006
That fall the curious flocked to Gladstone's gallery to watch a film depicting him scaling the gallery walls with the help of ice screws. It ended with Barney inserting the last screw into his anus. Stardom came instantaneously.Unfortunately, the rest of "Barney's Voyage," Julie Belcove's profile of Matthew Barney and Drawing Restraint 9 for W Magazine, is not available online. But Randy Kennedy's profile for the Times is, and he clears up the whole "Bjork and Matthew Barney live in...
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08:54 AM
April 07, 2006
Felix Gonzalez-Torres: "All art and all cultural production is political." The NY Times report on the inclusion of Felix Gonzalez-Torres' works in US Pavilion next year in Venice gives more information on what was included in the Guggenheim's proposal. Here is what the pieces soud like to me, starting with the "never before realized" work, which will be installed in the entrance courtyard of the pavilion: "two adjoining reflecting pools forming a figure eight, the sign of infinity" sounds...
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11:00 AM
April 05, 2006
Like death and taxes, the State Department will catch up with you. One day. From an interview Felix Gonzalez-Torres once did with Rob StorrFor example, here is something the State Department sent to me in 1989, asking me to submit work to the Art and Embassy Program. It has this wonderful quote from George Bernard Shaw, which says, "Besides torture, art is the most persuasive weapon." And I said I didn't know that the State Department had given up...
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Posted by greg at
03:26 PM
I want to love the Walker Center's Walker Channel video streams even more than I do. There was a chat between Rirkrit Tiravanija and writer Bruce Sterling, for example [here's the Walker's blog post about it] And Philippe Vergne talking with Dan Graham and his collaborators on his punk puppet opera Don't trust anyone over 30. And of course, Tyler was on the edge of his seat, waiting to watch the knives fly in realtime during the Whitney Biennial recap...
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02:40 PM
April 02, 2006
Joel, an eagle-eyed greg.org reader sends in this tip:Maybe nobody in the history of advertising had thought to do this, but it would appear that an artist had. Lucy Pullen, a Canadian artist living in Victoria, BC, dumped thousands of superballs onto the streets of Halifax in 1997.Pullen has shown in London and extensively in Canada, too; not that there's any monopoly on the idea of a mass ball bounce--we once rolled a dozen thrift shop bowling balls down a...
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Posted by greg at
06:55 PM
March 04, 2006
It's funny how much of the art that was donated to the Artists For Chinati benefit auction next week seems somehow Chinati-esque. Artists for Chinati catalogue introduction by Marianne Stockebrand View the lots, which go on sale Mon. March 13 at 7pm at Phillips....
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10:15 AM
February 28, 2006
I've always wondered why the New York Observer didn't have an art critic, but mentioning it, well, that's not how I was raised. Fortunately, Jerry Saltz was raised by wolves or something, because he doesn't mind pointing out that the Observer's art mentioner Mario Naves is an empty, conservative prig. The fact that it comes after a rousing ode to Duchamp's urinal only makes it sweeter; and it takes "I know you are but what am I?" off the table...
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09:17 AM
February 17, 2006
Well, actually, there's just one: The Meat Wagon, a turn through the Menil Collection's collections by Robert Gober, which closed on Jan. 22. GlassTire has an excellent writeup....
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04:32 PM
February 16, 2006
I've been a big fan and collector of Hiroshi Sugimoto's work for over 13 years now [wow. Typing that just now makes me hyperaware of the passage of time, which is par for the course for Sugimoto.] So when I had a chance to meet the artist at a preview of his retrospective show at the Hirshhorn yesterday, I jumped. It's really quite a gorgeous show; stunning, even, which I think is atypical of Sugimoto's work. For all his conceptually...
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11:53 AM
February 14, 2006
I fired off an email to Charlie Finch's editor/wingman last night, and even though I'm a ridiculous apprentice of nothing, he graciously favored me with a reply. If only I had a nicer rack, he might've gotten me a group show somewhere.From: greg.allen@gmail.com on behalf of Greg Allen Sent: Mon 2/13/2006 9:26 PM To: Walter Robinson Subject: You really need to let Charlie go start a blog of his own Hey Walter, I have to tell you, Charlie Finch's columns...
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07:46 AM
February 13, 2006
The irony, of course, is that if Walter Robinson actually had the balls to fire Charlie Finch for this kind of crap, the skeevy old skank would probably just turn around and start a blog. Charlie Finch Goes Too Far [MAN, with a list of drumbeating links] Previously: ACFWLF: [I think this stands for "Artists Charlie Finch Would Like To F***"]...
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06:55 PM
February 03, 2006
Finally, someone's saying something about the inconsistencies, conflicts and caprices of the Warhol Authentication Board, which is wreaking quiet, opaque havoc on the market for Andy Warhol's artworks. The BBC is showing a documentary on the Board tonight on BBC1 called "Andy Warhol: Denied". The above self-portrait, from 1964-65, for example, which Warhol gave as payment to Richard Eckstract, an important collaborator in Warhol's films, was subsequently declared inauthentic. Is this a real Warhol? [telegraph.co.uk via boingboing]...
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01:34 PM
January 30, 2006
Maybe we have the whole Smithsonian entropy thing wrong. In 2002, Artforum's Nico Israel whined with condescension about the homogenous strip mall & fast food landscape he had to endure on his road trip from one perfectly isolated Earthwork [Spiral Jetty] to another [Double Negative]. Then, as the Jetty has re-emerged year after year, visitor traffic has increased dramatically, along with press coverage and local awareness and appreciation. Road signs to the Jetty appear in the middle of what was...
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10:33 PM
January 27, 2006
Wow, Artnet associate editor Ben Davis got just what he wanted for Christmas: the chance to write at length about art and technology. He covers the video game-inspired show at Pace Wildenstein in Chelsea last month [generally, eh] and better-reviewed shows like Bit Edition's multi-artist animation collaboration in Brooklyn with vertexList, and a Dewan Brothers show at Pierogi [they're like the Harry Partch of synthesizers, very DIY.] But he saves most of the love for Dorkbot, aka Gearhacking: The Gathering,...
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01:04 PM
January 26, 2006
From The Salt Lake Tribune, 1/21/06:Spiral Jetty cleanup: Utah officials last month removed several tons of junk from Rozel [sp] Point, the area along the Great Salt Lake's north shore that is home to Robert Smithson's Spiral Jetty. "Anyone who has made the trip to see the famous Spiral Jetty . . . has passed through the area and certainly noted that it was an eyesore," says Joel Frandsen, director of the state Division of Forestry, Fire and State Lands,...
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05:07 PM
January 25, 2006
My boys Elmgreen & Dragset are opening their show, The Welfare State, at the Serpentine tomorrow, and there's a conference related to the show at the Goethe Institute on Friday, and there's a fat catalogue on every day, whenever you like. [oops, actually, it's not out in the US until March.] Kultureflash has images from the show's first incarnation at Kunsthall Bergen, Norway. Meanwhile, here's a photo they sent me from just before their Prada Marfa project opened last fall....
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10:14 AM
December 30, 2005
As the year winds to an end, I think I can officially say it: the art world is whack. It's all about the Benjamins, and I don't mean Walter. I was going to post a diatribe, but instead, I'll just point out what I've already said in print: the small comparison I made between the ravenous fixation on Richard Prince's appropriations and the parodic, poll-driven works of Komar & Melamid; my calling into question the credibility of a system [i.e.,...
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Posted by greg at
11:05 AM
December 21, 2005
I have 20 16 14 10 8 4 free passes to MoMA that expire on 12/31/05. If you'd like a couple, please drop me a line, and I'll mail them out to you today. [update: I ended up with 4 passes left, but now I'm out of town and won't be back before they expire. Sorry. The Target Corporation invites you to Free Friday Nights at MoMA, though... Merry Christmas, &c.]...
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12:44 PM
I've been a fan of Hiroshi Sugimoto's work since discovering it in the early 1990's. Although his work had him travelling constantly, Sugimoto had been based in New York City for decades. Recently, he has spent four years building a studio in Tokyo [as well?] instead [?] Even if you haven't followed his work, this interview in I.D. Magazine will be enlightening, but also sad:Q. What effect did the tragedy have on your work, and on your attitude toward the...
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Posted by greg at
12:41 AM
December 16, 2005
Beijing-based artist Yin Xiuzhen's Portable Cities series are models of cities inside suitcases, made using the old clothes that city's residents. In her practice, she explores issues of globalization and homogenization, but also memory and transience. In a way, her work reminds me of the nomadic Japanese artist Tadashi Kawamata, who constructs temporary structures, favelas, and whirlwind-like vortices out of scrap wood and junk he collects around the city. While they exist, they put into play issues of development...
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10:14 AM
December 08, 2005
I've been waiting for anyone else to say it, but Zaha Hadid must have some serious cojones to show up in Miami--his own home [away from home] town!--sporting a gigantic Ernesto Neto fallopian tube sculpture. I mean, Neto's Venice installation is like two blocks away in the Margulies Warehouse. Don't even get me started on Anish Kapoor's Turbine Hall. Seriously, woman, WTF?...
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12:39 PM
November 17, 2005
Mike Ovitz can fight his own battles--although he's been nothing but genial to me, I don't doubt he can be a pretty scrappy guy. But Nikki Finke's LA Weekly article on Hollywood-style dealmaking supposedly poisoning the art world is such a raw-yet-feeble Ovitz takedown attempt, I can't see why it even exists. And that's even before you notice that the story's so old, a veritable reportorial time capsule. The most recent anecdotes are from the early 1990's. Julian Schnabel--get this!--has...
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Posted by greg at
11:11 PM
November 14, 2005
There are some posters, and some beer, and the gas for the motorboat had to cost a pretty penny, but that's about it. Compared to the expensive (and purportedly expensive) public art it skewered, The Gate that chased Robert Smithson's Floating Island up the East River a couple of months ago cost nothing. Now the Gate and the boat, and a documentary about the project will go on exhibit 11/18 at Redhead, the gallery of the Lower Manhattan Cultural...
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Posted by greg at
11:51 PM
November 10, 2005
What with the hazmat crew required to neutralize the thousands of gallons of formaldehyde and the efforts to stabilize the rotting, soaked corpse, moving Damien Hirst's shark costs an estimated $100,000. Meanwhile, Mark Fletcher and Tobias Meyer ended up donating a John Bock sculpture to the Carnegie rather than keep replacing the fresh melons in it. [Maybe they should have become Buddhists. When I was a missionary in Japan, old ladies were always offering us the fruit offerings--pyramids of oranges...
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Posted by greg at
08:25 AM
November 05, 2005
Whoa. The Dugway Proving Ground is in Skull Valley, an hour and a half west of Salt Lake City. It's where the US Army tests chemical and biological weapons and defense systems. It's the site of an incineration program for the US's stockpiles of bio/chem weapons. And it's probably the greatest piece of Earth Art since the Cuzco Lines. The DoD's alterations of the landscape--seen here in Terraserver photographs--rival the Spiral Jetty, Double Negative, Roden Crater, even, in both aesthetic...
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11:38 PM
October 05, 2005
What is it with French people and penguin movies? Next Friday evening, French video artist Pierre Huyghe will be filming the second part of "A Journey That Wasn’t," a musical based on a trip to Antarctica. The first part was filmed in June by a crew setting out from Ushuaia, Tierra del Fuego to an Antarctic island. The performance will be shot after dusk on Friday at Wollman Rink. The work will debut at the 2006 Whitney Biennial, presumably with...
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12:55 PM
October 02, 2005
When I first met John Powers five+ years ago, he was like a Tibetan monk with a pile of sand. Only instead of sand, he had thousands of 1-inch woodblocks, which he transformed into a huge, impossibly intricate, mandala-like sculpture that sprawled across the floor of Exit Art's gallery. Every day throughout the exhibit, he scooted around on a little skateboard chair, replicating and altering dense patterns of blocks as he went. The work wasn't "finished" when the show...
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01:17 PM
September 28, 2005
Tyler goes all Observer on Thomas Krens' butt, while giving new Guggenheim director Lisa Dennison a chance to share her vision for the credibility-starved museum: "I would like the person on the street at Pastis to be able to name our top five curators." Personally, after seeing Dennison threaten to deaccession the work of an artist who criticised the the way she installed it, ["Well, if he doesn't want to be in the museum's collection, then..."] I'm sure we'll be...
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10:55 AM
September 24, 2005
I guess there's some...irony? justice? synchronicity? between Robert Smithson's non-site works--pieces of far-off locations displaced into a gallery--and twiddling your thumbs at a boring* Smithson symposium in a college auditorium while the last 36 hours of the artist's Floating Island tick by in gorgeous, sunny, autumnal splendor. Net net: forget the next three sessions of the symposium (maybe they'll be podcast), and get your butt to the river to watch the barges go by. [*although one potential bombshell was dropped,...
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Posted by greg at
01:08 PM
"So when Bob Henry, captain of the Rachel Marie, who is in charge of towing Smithson's island, looked out across the East River Thursday afternoon and saw another piece of conceptual art gaining on him, he did not view the development kindly." A Miniature Gate in Hot Pursuit of a Miniature Central Park [nyt]...
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08:04 AM
September 23, 2005
greg.moma reporting: The Modern has reinstalled the contemporary galleries on the second floor, and it's an invigorating pleasure and a huge improvement. Seeing it again yesterday with my mother, I found myself paying less attention to the show's conceptual and art historical underpinnings [Kelley's and Ray's juxtaposition with the Viennese Actionist photos of a doused bride, for example] and more to its sensory pleasures [or, in the case of Nauman's cacophanous drum/rat maze piece, its assaults]. You don't need to...
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07:29 AM
September 22, 2005
New York Is Smithson Country this week, what with the Floating Island and the Whitney retrospective and the Smithson Symposium all day Saturday. What symposium, you say? Actually, that's what I said. I had no idea. Anyway, over four sessions, artists, curators and historians will discuss the Spiral Jetty, Smithson's writings, films, travels, and influence [HUGE, in case you can't make it]. Me, I'm going to hear Nancy Holt and folks talk about the construction and evolution of the Jetty;...
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07:50 AM
September 20, 2005
I've been invited to speak Tuesday evening (tonight) at A.I.R. on the subject of women's art and the marketplace. A.I.R. is the oldest artist-run gallery for female artists in the city, and it was established for the purpose of fostering an audience and environment for showing and making art without the overriding commercial motivations that usually accompany gallery-based work. It's an interesting venue to discuss these subjects, which I wrote about last spring in the NYT, especially in light of...
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12:01 AM
September 16, 2005
Randy Kennedy has an article on the making of Robert Smithson's Floating Island, a tree-filled barge which will chug around lower Manhattan for a week or so:Smithson's project is just as intimately connected to Central Park, which he regarded, in all its artificial pastorality, as a conceptual artwork of its own. (He revered Frederick Law Olmsted and said that he found him more interesting than Duchamp.) While not nearly as monumental as Smithson's most famous work, "Spiral Jetty," a 1,500-foot-long...
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03:01 PM
September 01, 2005
Well, things could certainly be worse, but I'm pretty fed up with the achingly nostalgic, self-appointed populist heroic, knee-jerk MoMA-hating that passes for an enlightened, progressive cultural standpoint in certain quarters of New York these days. James Wagner takes it personally and politically when PS1 won't let him shoot images of the Greater NY show. The MoMA Man holding him down. Sure, it puts a cramp in your photodiarykeeping to not be allowed to take pictures, but please. PS1 generally,...
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10:12 PM
August 23, 2005
Regine just posted about some artists in the Hungarian Pavilion at the Venice Biennale who made portable chairs available to visitors, [correction: turns out the chairs were sponsor-driven, not artist-driven.] and it got me thinking about the customer service side of artviewing, especially in a setting like Venice. So much art is about the White Cube, the experience of seeing it, a "critique" of the institution/process, but yet so little of that actual process is actually addressed. A curator friend...
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02:36 PM
Metropolis Magazine's short interview with Rick Smith is so dense with fascinating information, I'd have to excerpt the whole thing, so just got read it now. He talks about convincing Frank Gehry to buy CATIA, the aerospace industry CAD/CAM software that revolutionized Gehry's--and, increasingly, other architects'--practice. He talks about how he helps Richard Serra make those Torqued Ellipses. [I love that Serra makes them by hand, with lead sheets and wooden elliptical forms, then converts them to information -- "height,...
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01:59 PM
August 11, 2005
Art is used to lend Roppongi Hills, the massive land grab mall/office complex I'm loving hating these days, cultural credibility. Minoru Mori, the developer, clearly fancies his development is Tokyo's Rockefeller Center--and, by extension, he's Japan's Rockefeller. At least two pieces of large-scale sculpture that were previously shown at Rock Ctr are currently installed at Roppongi Hills: Takashi Murakami's Mr. Pointy & co., and Louise Bourgeois' Maman [above]. Maman was first shown at the Tate Modern's Turbine Hall. But...
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10:24 AM
August 04, 2005
I still have a place in my heart--and fortunately, a spot in the old collection--for Takashi Murakami. The Louis Vuitton thing was rather masterful, and the sheer superfluity of luxury and fashion maps rather well onto some of the more expendable aspects of contemporary art, too. Likewise, I'm not unappreciative of Murakami's own creation myth, in which he and his characters subverted and exploited the banal world of Japanese idol-centric television, even as they were, in turn, exploited by the...
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03:36 AM
August 02, 2005
He said Pitt and Jolie remained 'in character' through most of the two-day shoot, while the photographer orchestrated their performance in the manner of John Cassavetes, a pioneer of cinéma vérité."At least he's stealing from someone dead this time. He once did a photoshoot with Justin Timberlake all beat up and stuff, that was practically a bruise-for-bruise remake of then-barely-heard-of Roe Ethridge's bloody Andrew WK portrait which was featured in the same magazine. Well, helloooo:[Klein lapdog Vince] Aletti credits the...
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11:20 PM
July 28, 2005
Turns out the art world's problem isn't that it's a market-obsessed, commoditization-frenzied bubble; it's that it isn't a market-obsessed, commoditization-frenzied bubble enough. No need to fear, though, Domino magazine is here:“Art is another form of shopping,” [Domino editor Deborah] Needleman said by phone July 25. “It’s not like buying a toaster oven, but it’s not that different, either.” Ms. Needleman said that her magazine’s monthly arts coverage will aim to “demystify” art in the same way the magazine makes home...
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09:54 AM
July 23, 2005
A couple of months ago, I wrote a NYT piece about artists' unrealized projects. The piece quoted several interviews conducted by the curator Hans Ulrich Obrist, who sees these unrealized projects as under-publicized and under-appreciated aspects of an artist's work, especially compared to the high level of attention regularly paid to architects' unbuilt proposals. Well, Gregor Schneider's Venice Cube 2005 is one piece that's getting plenty of publicity. Schneider proposed building a large black cube out of scaffolding and fabric...
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07:53 AM
July 14, 2005
Sarah Boxer is disappointed in--can I say it? too late--Janet Cardiff's online piece, Eyes of Laura. Cardiff created a journal (don't tell the bloggers, but she actually calls it a blog) for a bored security guard in the Vancouver art gallery which commissioned the piece. Boxer seems to feel the work depends on a suspension of disbelief that is actually IS a work of art, particularly one by Cardiff: "Maybe the illusion of the Web site collapses because it is,...
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08:43 AM
June 28, 2005
Philip-Lorca diCorcia is being sued by this guy for taking his photograph on the street in Times Square in 2001. More precisely, he's being sued for exhibiting it, selling it, and publishing it in books, and his gallery, his publishers, and unnamed others who distribute the photo are included in the complaint. I got this image from the Guardian, which wrongly describes the image as taken in the subway. It was taken on the street, under a construction scaffolding....
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12:14 PM
June 26, 2005
[via land+living]In the wake of Google Maps' release, a few sites have started collecting coordinates and satellite images of various earth art works, including Spiral Jetty, Michael Heizer's Double Negative, James Turrell's Roden Crater, and Walter deMaria's Lightning Field. Here's my own contribution, a Google Map view of The Chinati Foundation in Marfa, TX. You can see Judd's large concrete sculptures lined up in the field, the twin barrel vaulted warehouses with milled aluminum boxes inside, the arcing row of...
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01:56 PM
In the NYT, Edward Lewine talks to some collectors of video- and projection-based art to find out what it's like to actually live with work that demands both attention and extra hardware. I know collectors who have flatscreens propped all around the house and long shelvesful of viewing copies of their work; whatever they have playing when you visit, you still read and assess the spines of their VHS's the way you would their book collection. And although we have...
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Posted by greg at
01:03 PM
It's a relief to know that some folks in Venice did know they were being targetted by Francesco Vezzoli's Biennale-stopping Caligula trailer--and are fans of his work because of it. Our Other Man In Venice was like, "but that's the whole point--it's an institutional critique from within the system. Vezzoli is a hustler, and he sees how the system works and is exposing it. And still, he's best friends with Miuccia." And after reading about Donatella's costumes for the Caligula...
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Posted by greg at
08:08 AM
June 23, 2005
Do you ever wish you still had those Matisse Cutout posters from freshman year? Well, the good old days are back, my art advertising-loving friend. BetterWall will sell you an actual, cleaned up, polyvinyl street banner from your favorite museum exhibition--or, if that one's sold out, from some other exhibition you chose to make yourself look sophisticated-- that's ready for hanging right in your own home! They're cheaper than art, but hella more expensive than posters. But if you've got...
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Posted by greg at
01:03 AM
June 15, 2005
One of my top picks of 2004 for film/video art, Sleepwalkers, by the British collective Inventory, will be included in the first ever US installation of their work at White Columns. It opens Friday 17 June and runs through 23 July. Sleepwalkers was filmed at an "Americana" festival in the UK, where Britons gather to celebrate such high-minded touchstones of American culture as monster trucks, RV's, and big rig tractor trailers with huge, pimped out sleeper cabs in the back....
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Posted by greg at
11:56 PM
Finally hearing more reports and reviews of Venice. So Francesco Vezzoli's trailer for an imaginary remake of Gore Vidal's Caligula is the favorite of Artforum-istes and the Guardian alike? How amazingly uncritical of these critics to not notice that a star-filled, 5-minute trailer filled with S&M orgies--a contrived and condensed meta-work for a film that won't exist, a series of shorthanded, empty, titillating referents--is perfectly and cynically designed for ADD-addled art worlders at a sprawling Biennale? Don't these people know...
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Posted by greg at
11:36 PM
June 10, 2005
Why, copyright, for one thing. And a quaint, lingering fixation on outmoded technology for another. Kim's St Mark's location got busted by the NYPD, the Feds--"everybody was here," says one nonbusted employee--the other day, who confiscated all the computers and arrested four employees. Although the store has been a speakeasy-type outlet for bootleg copies of Matthew Barney's Cremaster Cycle and Todd Haynes' Barbie doll classic, Superstar!: The Karen Carpenter Story, neither Barbara Gladstone nor Christine Vachon--as intimidating as they are--was...
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Posted by greg at
07:31 AM
June 09, 2005
Good Morning, Cicely! Whether that's Cicely Brown or Cicely, Alaska, only time will tell. WPS1 is broadcasting live from a party barge near the Arsenale, site of the Venice Biennale. The web audio programs will should be up within a couple of hours days, max, of their actual creation, so if you're the other [*cough*] art world groupie not in Venice at the moment , you can still follow along online someday. But who cares what you think if you're...
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Posted by greg at
09:08 AM
June 07, 2005
Recent record flooding in Utah has raised the water level (elevation, that is) of the Great Salt Lake to a five-year record high of 4,198 feet, enough to submerge the Spiral Jetty and scuttle any art world latecomer's summer pilgrimage plans. With mountain runoff, the lake is expected to keep rising through July. Meanwhile, the rest of the artworld is in Venice, which is also sinking. Coincidence? I wonder. Floods pump life back into lake [sltrib, thanks, dad]...
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08:12 AM
June 04, 2005
Actually, when I saw Cy Twombly, he wasn't naked, and neither was I. I'd gone to Houston for work, right after graduating from college, and I had an extra day, so I set out to find this Rothko Chapel I'd heard about. No luck, or maybe it's that low-slung grey clapboard building. With the blackboard Twombly in the lobby. Holy moley, what is this place? It was, of course, the Menil Collection, and while I was standing in front of...
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09:11 PM
May 19, 2005
The late Cuban-American artist Felix Gonzalez-Torres is well-known for appropriating minimalism--the Establishment for his generation--and for imbuing that movement's self-consciously impersonalized, content-free, manufactured forms with deeply resonant emotional, biographical, and political metaphor. So it is again with the next generation, I thought, when I saw Land Marks (foot prints), photographs by Jennifer Allora and Guillermo Calzadilla. Gonzalez-Torres made several works, including a billboard and a series of black & white photographs, of sand churned over with footprints. They're legible...
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11:29 PM
May 05, 2005
Right after their installation, End Station, opened at the Bohen Foundation (415 West 13th Street, Tu-Sa 12-5), I did a back and forth email interview with Michael Elmgreen and Ingar Dragset for the NY Times. The paper ended up reviewing the installation and not using this piece [I'll get you, Roberta Smith! And your little-- oh, never mind.], so here it is in its entirety, cleaned it up a bit, but with all my essay questions in their full,...
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07:22 AM
May 04, 2005
the 2+ month gap between posts on banker/nude male swimer Dana Vachon's blog/: $650,000 Vachon's last post, an interview with Christo & Jeanne-Claude: priceless....
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09:57 AM
After a couple of months of interviews and trying to wrap my head around the question of why there were no expensive women artists, I read Linda Nochlin's seminal 1972 essay, "Why Have There Been No Great Women Artists?" It was tremendously prescient and helpful; many of the explanations people had given me for why women's art wasn't, in fact, undervalued--or why it shouldn't be selling for more--were identical to the rationales Nochlin laid out--and then demolished--thirty years ago. When...
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07:52 AM
April 30, 2005
I wrote an article for the NY Times Arts & Leisure section about the reasons art made by women sells for lower prices than art made by men. It’s a tricky subject, partly because art is subjective and inherently difficult to compare side-by-side, and partly because the art world is not known for the transparency of its financial information and sales figures. For the article, I narrowed the data sample used to the upcoming contemporary art sales in New York....
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08:03 AM
April 28, 2005
Who's the must-have light installation artist in Los Angeles these days? If you answered, "James Turrell," pack up your Uggs and get out. In Pasadena this week, Olafur Eliasson debuted a modernist hill houseful of installations and interventions, organized by his Italian gallerist, Emi Fontana. Check out pictures and descriptions at arcspace, or pour yourself a glass of whine at artforum diary, which features largely content-free Olafur soundbites and bitching about the opening's lack of valet parking. Or go yourself,...
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11:07 PM
April 22, 2005
The soft, supple opening to Charlie Finch's latest column on Artnet:We first met Laurel Nakadate in 2001, right after she received her MFA from Yale. While in New Haven, Laurel lived in a single-room occupancy apartment house full of lonely, homely, aging single men whom she proceeded to bait and cocktease mercilessly in her video work.By "we," I think he means "me and my lonely, homely, single hand." Critic, art world svengali, and breast man Charlie Finch stick his own...
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04:11 PM
April 14, 2005
There's a lot of goodlooking work that's been donated to White Columns' 2005 benefit auction: nice pieces by Verne Dawson, Peter Doig, Rachel Harrison, a pointless-but-nice T-shirt by Payne/Relph, a wheel-thrown ceramic pushpin by Mungo Thompson. Silent and online bidding is on right now, and some lots will end with a live auction on the night of the 16th. White Columns 2005 benefit auction...
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05:02 PM
April 12, 2005
For an exhibition in Dublin, Dutch artist Aleksandra Mir interviews Jim Fitzpatrick, the Irish artist who created the stencil-like poster of Che Guevara. It's a fascinating story of copyright, revolution, and appropriation, told by someone who's been largely invisible, even though he made one of the most widely known--and widely copied--images of the last 50 years. Some interesting tidbits: - Fitzpatrick originally made 1,000 two-color posters, with the stars hand-colored yellow. - Several hand-printed early variations--and one painting--made for an...
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12:01 PM
April 07, 2005
Popular Photography gives Migrant Mom a Photoshop makeover for April 1. [via waxy, see before/after images]...
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10:33 AM
+ * 3 || [headline via the comments on Grammar Police]...
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08:53 AM
April 06, 2005
It's been a pretty crappy day, already, so don't make me decide which writing is more annoying, self-reflexive, and wilfully misinformed and misrepresentative about its subject: Lee Siegel's free-associational riffs in Slate about Cy Twombly's "doodling," which, after all these years IS apparently just like your kid could do. Bonus quote: "You cannot fully understand Twombly's art unless you know that he is gay." [huh?? I DID pick up "fatuous" from here, though.] Hilton Kramer's self-contradictory, dishonest, and obtuse reading...
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06:07 PM
April 03, 2005
I received one of these bags as a thank you gift for one of the panel discussions I did in February at Art Rotterdam. [Inside were a couple of great catalogues and a fine bottle of spirits which I shared away, since I don't drink. Thanks again to the folks from Het Wilde Weten for the opportunity.] Anyway, the bag rocks. It's made out of a super-light, super-strong coated nylon normally used for kites. It's designed by artist Susan Bijl,...
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09:21 PM
March 18, 2005
From my friends Michael Elmgreen & Ingar Dragset comes a show, er, a work that could be titled, Untitled (Hah, made you look!). Right before they left town--and after the opening of their installation at the Bohen Foundation--the artists installed a piece at The Wrong Gallery, Maurizio Cattelan, Mass Gioni, and Ali Subotnick's foot-deep-gallery-in-a-doorway, next to Andrew Kreps. They dressed a Mini with all the paraphrenalia of a long trip abandoned--maps, lotion, crumbs and change on the floor--and a...
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02:23 PM
March 16, 2005
"And with art, there are always boobs, liberated by liquor, out where they shouldn't be, pointing around at paintings they don't understand and could never afford." -The NY Observer's Rebecca Dana reporting from the opening of art dealer Jack Tilton's new East 76th Street gallery. Bottle Racket [Don't scroll down so fast you miss: -Some adman praising his own scripts for Dasani commercials, written "intending Wes Anderson to direct" [Coke spends $2bn/yr on ads, so of course, they got him,...
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08:39 AM
March 15, 2005
From the Times: But, at first, the thought of painting in this Photo Realist manner intimidated him. When he began in earnest about three and a half years ago, he realized why. "I started out airbrushing," he said. "But the images looked flat, dead. For two years I didn't think it was going to work." Finally, he said, he disciplined himself to represent each image faithfully by hand. Still, he doesn't consider himself a serious painter. "I would feel uncomfortable...
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10:55 AM
March 08, 2005
AND at The National Gallery? I'd love to hear how it's installed in Ando's (probably) more sympathetic building. Huh. They call The Modern Art Museum of Fort Worth "The Modern"....
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11:39 PM
March 04, 2005
The other night Thomas Demand offhandedly described some of the insane details of the production of Clearing, the massive photograph of a forest which is now built into The Modern at MoMA. The photograph was laminated onto two sheets of architectural safety glass that were so large, they had to use satellite-curing ovens at ESA, the European Space Agency--at night--to fabricate it. When the request for the work, Thomas said, "no one quite knew what they were getting." [On an...
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07:31 AM
February 21, 2005
Tangentially related to both preparations for my upcoming talks on the art market in Rotterdam and to The Gates being rather showily not for sale, I've been thinking about art you can't buy or sell. e-flux's Do It! exhibition is full of artworks you create or complete by following the artist's instructions. Sometimes a museum paid the artist to let them keep these originally temporary works, but the museum can't sell them. And you can't buy or sell them. [You...
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10:56 PM
Shameless plug first: I'm speaking and participating in two panel discussions at Art Rotterdam this week. Thursday at 2000 hours [when is that? someone please tell me.] I'm talking about the effects on art and artists of the art market's global dynamic. That's at Het Wilde Weten, an alternative art space in Rotterdam, where the other panelists include: artists Jeanne van Heeswijk and Joep van Lieshout; Mondriaan Foundation director Gitta Luiten; journalist Marc Spiegler; and Amsterdam gallery owner Maurice van...
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10:42 PM
February 20, 2005
I just made myself a little batch of "apprentice of nothing" t-shirts, which should be here in about 10 days. I'm taking a couple, and the rest are available--first come, first served--for $20, domestic shipping included. [mon. night update: they're gone.] They're American Apparel superfine jersey, not fitted (L, XL) and come in just one style: white text screened on saffron. [limited edition apprentice of nothing t-shirt] [update: in the spirit of transparency, I thought it best to lay out...
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12:49 PM
To: greg.org From: someone using the name of a recognizable artist of Christo's generation Date: 2/20/05, 22:06 Subject: the blog of greg allen!Allen, the fastidious analysis of Christo's project you make, the stupid remarks and investigations over his car, his plates, his parties and his private parts [?? -g.o] make you look a moronic paparazzo searching for the Olsen Twins for a cover in "Daily News" or any other tabloid of your choice. Now, you should say that this art...
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07:02 AM
February 17, 2005
Just to clarify a couple of points: the Christos' $350,000 Maybach is not part of the $20 million; in fact, it's not even theirs. It's being made available to them by their friend--in the Maybach marketing department. Maybach's Leon Hustinx, coincidentally, purchased two C&J-C works related to The Gates, which he has graciously made available to the Daimler Chrysler Art Collection. The Christos' do not accept donations or sponsors for their projects, preferring to pay for everything themselves. While the...
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11:35 PM
February 13, 2005
No doubt after a euphoric and joyous walk through the park yesterday morning, and a group hug with the world, Daily Show writer Rob Kutner got back to work--making Gates jokes. My favorite is above: "Shut UP Jen. I'm totally at The Gates." The Gates A Photo Essay By Rob Kutner [supermasterpiece.com]...
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11:55 PM
Don't get me wrong; I'm just as giddy as the next schoolgirl [sic] about The Gates, I just can't see how they cost $20 million. That's what the Christos say they cost, and it's a figure which is dutifully reported in every story, but it's something which I've never seen examined or analyzed. Most discussion of The Gates focuses on their populism; this is not just public art, but an artistic experience given to the people. The back seat...
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04:41 PM
February 11, 2005
First, I'd like to welcome and give a passionate cry to new greg.org advertiser Kinsey, an American Experience documentary airing Monday, February 14th on PBS. Psst, even though Kinsey's work is half a century old, don't tell the Secretary of Education. Meanwhile, Daddy Types may sound like something Kinsey would've been into, but it's actually a site for new dads. Check that one out, too. Art world news I shouldn't have had to find out for myself: Damien Hirst works...
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10:21 PM
I can't quite say why, but I had a pretty intense Jon Jost phase when I first moved to New York. I saw his All The Vermeers In New York several times, lured in by the title, but kept there by the film's demanding and precise construction, and its underlying art-vs-money themes. [That said, I don't remember it too well; better add it to the rental queue.] Anyway, I'm sure--pretty sure. kind of sure. hoping--that when the Whitney Museum put...
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03:22 PM
February 08, 2005
Artforum's gossip columnist Rhonda Lieberman wasn't on the list for artfully poseurish artworld duo [Yvonne Force-Villareal and Sandra Hamburg] Mother, Inc.'s recent Fendi-sponsored CD listening party, so she traded a blowjob for entry. At least that's how it reads. A little context: Mother, Inc. started as backup singers for Fischerspooner. The title quote above comes from the oh-so-vigilant guards watching the sponsor's display case. Hot Commodities [artforum scene & herd]...
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11:50 PM
February 07, 2005
When I saw Amazon's A9 Local yellow pages feature, the first thing I thought of was Ed Ruscha's 1966 artist book, Every Building on The Sunset Strip. It was the first Ruscha book I bought, and it makes me laugh to remember how I thought I paid too much for it way back when (it's easily 10 times as expensive now). Anyway, using Mikel Maron's A9 whole-street-grabbing script, I tried all through that weekend to re-create Ruscha's Sunset Strip. The...
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04:23 PM
February 05, 2005
No one rips off quicker than window dressers. They take next week's ideas from last week's paper, or they stop by the magazine stand on the way to Home Depot. One Monday morning, I passed by Bergdorf's on my way to work just as they were unveiling the new windows. I stopped dead in my tracks as, unbelievably, two artist friends' works were ripped off at once: the backdrops were Stephen Hendee's crystalline architectural forms made of foamcore and black...
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11:59 AM
February 04, 2005
The exhibition that Choire Sicha curated which inexplicably included me, Regarding Clementine, is closing this evening. There's a swanky beer bust [sic] from 6-8, a closing party, to which the less stalker-ish among you are definitely invited. Clementine Gallery 526 W 26th St, Chelsea Arts Bldg, 2nd Floor [note: For the more stalkerish, the address is 526 East 26th st, and it starts at midnight.]...
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05:12 PM
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February 01, 2005
Assuming they don't close down all discussions of art, film, and culture before I get there, I'll be in Rotterdam, participating in a couple of panel discussions around the upcoming Art Rotterdam fair. In one debate on Feb. 25, Saskia Bos, director of De Appel in Amsterdam, will moderate as we discuss private and public funding for the arts, particularly for museums. [I'm there to discuss my work at MoMA with the Junior Associates.] Also on the panel: Claudia Rech,...
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09:27 PM
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January 28, 2005
Things perked up when Sehgal explained how he actually sells his work in the absence of documentary photographs or certificates of authentication—a weird tale of oral contracts memorized by lawyers and of the artist teaching the buyer how to perform the work, thus instigating a pedagogical daisy chain if and when it's sold again. Later, he convincingly refuted suggestions that his work was either subversive or a rehash of '60s conceptual strategies, asserting that it is, rather, a politicized inquiry...
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10:46 PM
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January 21, 2005
I'm gonna be working at the Clementine Gallery as part of Choire's show again today. If you're in Chelsea, stop by and say hi. Clementine Gallery, 526 W 26th st, Suite 211 Previously: Regarding greg.org at Regarding Clementine...
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11:47 AM
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January 19, 2005
Another cover from Life—the lunar surface photographed by the Apollo astronauts in 1969—yields a comparison to Smithson's cover for Artforum published just a month later: a distribution of mirrors across a square of parched earth, one of a number of illustrations from his "Incidents of Mirror-Travel in the Yucatan." Placing these images together, which speaks to an argument about travel as a form of cultural repetition that suspends an experience of the present, demands a great deal of archival legwork...
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08:41 AM
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January 18, 2005
Although Gustav Eiffel didn't explicitly use one himself, an American engineering professor has come up with a mathematical expression for the shape of the Eiffel Tower, based on its creator's own studies of wind resistance, torquing, and load transfer. Which reminds me of the photos by Hiroshi Sugimoto at the Fondation Cartier, Mathematical Forms. They are monumental images of beautiful, little plaster stereometric models, which were created in 19th and early 20th c. Germany to illustrate complex trigonometric formulas....
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10:44 PM
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January 16, 2005
I just read this Friday night on the train. Seemed apt:Brenda Richardson, deputy director of the Baltimore Museum, installed the exhibition there. We had agreed that she would install alone so when I walked into the rooms filled with work dating from First, 1961 to 1991, I had the delight of seeing it from an entirely fresh point of view. One of the trepidations I feel when my sculptures are exhibited is that they may be harmed: people like to...
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06:55 PM
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January 14, 2005
The Smithsonian, specifically the National Museum of The American Indian, accepted a gold record for "Y.M.C.A" from the Indian guy in the Village People. For all the disco celebration in the rotunda during the handover ceremony, it pales in comparison to the Washington Post writer's own campiness. Celebrity Artifact [WaPo, via Towleroad]...
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10:20 AM
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January 08, 2005
Jonathan Jones gives a brilliantly outraged review of a show of 'Italian Aeropaintings,' a Futurist subgenre which flourished in the 1930's. The curators at the Estorick Collection say this work demonstrates "a passion for the new perspectives and vertiginous excitements of aviation - an innocent wonder we have lost in our age of routine civilian flight." What they don't say, and what gets Jones so rightly worked up: '30s Italy was ruled by fascists; the planes in the paintings are...
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09:59 AM
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January 01, 2005
Stephen Flavin is the only child of Dan Flavin and his first wife, Sonja Severdija. Trained as a filmmaker, Stephen, who lived apart from his father since his parents divorce, began assisting his father's company, Dan Flavin, Ltd, in 1992. His first efforts--producing the artist's all-important certificates by computer (previously, they had been variously handwritten or typed) and converting the elaborate and disparate index-card-based inventory of works, which was split among several galleries, to an electronic database--have helped in efforts...
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11:02 PM
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Although they happened too late to make the article, I had some enlightening conversations with Emily Rauh Pulitzer, a collector and curator of Flavin's work, and with the artist's son, Stephen Flavin, who manages his father's estate. They're worth sharing here for the additional light they shed [sic] on Flavin's legacy and the complexities and contradictions inherent in his deceptively simple work. I'll post them separately, first Pulitzer....
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09:20 AM
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December 29, 2004
I would put Origins Clear Improvement® Active Charcoal mask to clear pores as my number one. I was introduced to this miracle product many years ago, when I got a tube in a gift bag after an art benefit (Origins is owned by Estee Lauder co., which is owned by--oh, you do the math.). Well, I've been in love with it ever since. Nothing I've tried provides quite the feeling of cleansing, tautening rejuvenation that I get from just a...
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10:18 AM
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December 28, 2004
Richard Polsky does a round-up of the 2004 art market on Artnet and makes some predictions for 2005, and guess what? Of the dozens of artists he looks at, only four--Takashi Murakami, Yoshitomo Nara, Felix Gonzalez-Torres (??) and Ross Bleckner--are anticipated to go down next year. Most are going up, or are predicted to be "status quo," which I take to mean either "they'll go up, but I don't know why" or "they'll go down, but I don't want to...
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09:05 AM
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December 25, 2004
James Meyer: You turned eighty last year. Has age, in some way, affected your work? Anne Truitt: I don't think age makes any difference except that it endows a person with freedom. Age cuts you off, untethers you. It's a great feeling. The other thing is, when you get to be eighty, you're looking back and down, out from a peak. I can look down and see my life from my own little hill; I see this plain, all the...
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10:50 PM
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December 23, 2004
It took us a few months to realize it, but one summer evening, the street we were walking along grew increasingly familiar. We'd driven on this street, I told my wife, this is where we parked to go meet Anne Truitt. Sure enough, around the corner was the house she'd invited us to over a year and a half earlier, after I'd asked a curator and mutual friend had introduce us. We had a wonderful time; she was very gracious,...
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01:43 PM
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I first compiled this list for the NY Times, who, after clearing up (mis)communication from some over-eager assistants, didn't ask for it after all. I am publishing it here, as is. The works in the order I wrote them, nothing else. In my mind, they're all winners: Pierre Huyghe, Huyghe & Corbusier: Harvard Project - The story of the creation of Corbusier's only US building, told in puppet opera. Christian Jankowski, What Remains - Jankowski interviews aspiring actors at Cinecitta...
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01:18 PM
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December 19, 2004
From Steven Kaplan's accounts of Art Basel Miami Beach, a report from the Rosa de la Cruz party:Before discussing the highlights of the collection, I need to address some unseemly carping that emanated from other coverage o
