2023 – Page 5 – greg.org

How Does Sturtevant’s Candy Pour Work?

From the jump, the experience of encountering a Sturtevant is different from almost all other artworks. The moment of recognition, of loading up your assumptions and expectations of an artist’s work, of anticipating a certain kind of engagement is the same, until the instant it isn’t. Sturtevant’s work triggers a recognition, and then it thwarts it. When you realize a work is by Sturtevant, you consider how close she has gotten to the artist you thought it was by; then you start marking differences. You may also start to reflect on your upended expectations, and to question the systems that produced them.

July 2023 installation view of Sturtevant’s Gonzalez-Torres Untitled (Blue Placebo), 2004, at the Whitney, via Scott Rothkopf’s IG

And by you, I mean me. And the Sturtevant work that has been confounding me for months is Gonzalez-Torres Untitled (Blue Placebo). The 2004 sculpture is a repetition of “Untitled” (Blue Placebo), a 1991 pour of blue cellophane-wrapped candy. The Sturtevant was acquired by the Whitney Museum in 2016, and it went on view for the first time this summer in “Inheritance,” an expansive collection exhibition about legacy and lineage curated by Rujeko Hockley.

As far as I can tell, Sturtevant only made one candy pour. It was shown at least twice in the artist’s lifetime, and this is the second time since her death. How does it work? What does it do? How does a museum handle it? Is there a certificate?

Cash4YourGenzken

Was ist das at 1h17? an Isa Genzken *Weltempfänger* on the 6 Sept 2023 episode of
*Bares für Rares XXL*, all screencaps via ZDF

Alex Greenberger has the English report at ARTnews, but there is apparently a German version of Antiques Roadshow called Bares für Rares, or Cash for Rarities, and it is hosted by Jerry Saltz starring in Gilbert & Sullivan’s adaptation of Death in Venice? I don’t really speak German. But that’s not important now. What matters is that an Isa Genzken sculpture was crumbling on prime time German television.

“Der Zustandsbericht macht mir Angst.”/”The condition report is scaring me.”: screencap via ZDF

Now (And Then) And Forever

“With gratitude for the imagination, creativity, and vision of Kerry James Marshall in his design for the *Now and Forever Windows*, on behalf of the Windows Replacement Committee and the Fabrics and Fine Arts Committee, we present to you these stained glass windows, fabricated by Andre Goldkuhle, to be set apart for the people of God.”

I watched the dedication ceremony Saturday, but I wanted to see the stained glass windows Kerry James Marshall made at the National Cathedral in person before writing about them.

It is, of course, impossible to consider the windows outside of their multiple contexts, including: the fleeting, classical Episcopalian spectacle of the dedication ceremony, whose explicit purpose was to inspire, and which has already floated away from the physical present now of the installation. The Cathedral and its institutional apparatus’ reckoning with the white supremacist symbolism literally built into it, over decades; the incremental recommendations and changes made in the wakes of multiple instances of anti-Black violence; the official committees formed amidst the activism of Black students at the Cathedral’s schools; and the seemingly relentless drumbeat of white Christianist fascism beyond the Cathedral’s walls.

Kerry James Marshall is surely aware of all this. He’s been making compelling art all his career for cathedrals built to exclude him. The National Cathedral knows all this, too, obviously; it’s what they chose him to do. In a way, or in part. What was the commission, and what, actually, did Marshall do?

Cady Noland More Relevant Than I’d Like

*The New Yorker* cover illustration, 2 Oct 2023, by Bruce Blitt

Shoutout to Cady Noland for making the cover of The New Yorker this week. We have been overdue for a discussion of the walker as a symbol of American boomer hegemony.

Cady Noland, *Untitled (Walker)*, 1986, metal walker, metal police badge, leather gloves and case, denim strap, leather strap with metal clip, nylon strap with metal clip, copyright Cady Noland, photo: Owen Conway via Gagosian

cf.

*Untitled (Harvey After Untitled (Walker))*, 2019, walker, tennis balls, retractable stanchions, galvanized barrier, stepstool, hi-viz coat (image:AFP via Getty Images via PageSix)

Oh, Hi, Ethiopia’s Most Important Relic, Looted By The British Museum

the first color photo published of *Kwer’ata Re’esu*, a c.1520 painting of the Blessing Christ, which was tracked down by The Art Newspaper over 25+ years. image: TAN/Martin Bailey

Martin Bailey just dropped an extraordinary tale of investigation of an amazing tale of officially organized looting in The Art Newspaper. The subject is an early 16th century painting of Christ, , which became the most important religious relic in Ethiopian Orthodoxy. It was stolen on orders of the British Museum in 1868, who sent an agent to Ethiopia to loot artifacts and manuscripts from the midst of war. That agent, Richard Holmes, took the painting from above the bed of the emperor, and ended up keeping it for himself.

The painting’s nearly invisible, deracinated history since then, and reconnecting it to its Ethiopian context, are a central part of The Art Newspaper’s investigation, which began in at least 1998.

Kwer’ata Re’esu was widely copied within Ethiopia over the centuries, but the original was carefully guarded by the emperors. Until the 1990s, when TAN located it in Portugal, Kwer’ata Re’esu had only been known by a single 1905 photograph. Bailey went to visit it and took what are now the first known color images of the painting, including its frame and backing, all seemingly intact after 500 years.

Exclusive: first colour photographs shed fresh light on Ethiopia’s most treasured icon and its looting by an agent of the British Museum [theartnewspaper]

Incense Sensibility

Chris Rusak, *Zine: Survey of Liturgical Incense*, 2023, via chrisrusak.com

A couple of months ago, Los Angeles conceptual perfume artist Chris Rusak published a zine with a 9000-word survey of liturgical incense, its history, culture, and performance, and details of fourteen current sources of incense, including “several brands that are handmade by artisanal monks, some of which are not widely known and are hard to acquire due to their limited production.”

Like all of Rusak’s productions, it is beautiful and provocative of both sensation and thought.

Then today I saw that 56 Henry is currently staging a show by the Los Angeles artist and mage L, which includes Talismanic toroidal altar (2022-2023). As barely a novice in these matters, I can only quote from the press announcement:

Talismanic toroidal altar (2022–23) was initially constructed at Documenta 15 last year, in response to a curatorial request for L to conduct magic in service of their fellow artists. The main structure is a chromed coat rack from the D15 exhibition venue St. Kunigundis church, that was gifted to L by the local anarchist priest. One accoutrement hanging from the altar is a steel lemon juicer, utilized at D15 as an incense burner. For this exhibition, a new incense will be activated – 333 – that L co-created with perfumer Christopher Gordon of Maison Anonyme.

L, *Talismanic Toroidal Altar*, 2022, Aluminum clergy vestment rack from St. Kunigunis, crocodile skull, chain clasps, wood and steel scythe, lemon, aluminum badminton racket, ritually poured molybdomantic lead, quartz crystals, L’s broken mirror, webbing, fishing hooks, galvanized steel spring, selenite wand, ceramic vessel, steel citrus juicer ceremonially utilized as incense diffuser, copal incense, St. Germain herbal blend incense, steel lock, hot glue sticks, yarn, horseshoe from Montauk, pyrite, selenite, lead, glass jar with copal incense, protective stone from Germany. image via 56 Henry

The medium description is an invocation in itself, though it does also seem to be for a previous incarnation. L’s creations at St. Kunigunis were part of the Ghetto Biennial organized by Atis Rezistans, a Haiti-based artist collective. They resonate both formally and etymologically with the altar conjured by the Los Angeles artist collective A.S.T.R.A.L.O.R.A.C.L.E.S in collaboration with Dual Forces, a creative agency for Adidas and Nike, who all seem to exist in harmonic resonance with each other.

There is definitely something in the air out there.

L’s exhibition, Triplet states (+1), runs through October 22, 2023 [56henry.nyc]

Kerry James Marshall’s National Cathedral Windows Dedication

In 2021 Kerry James Marshall was commissioned by the National Cathedral to create stained glass windows to replace windows that depicted Robert E. Lee and Stonewall Jackson. Marshall’s Now and Forever Windows will be unveiled and dedicated on Saturday morning, Sept. 23, and a public open house to celebrate them will run all day.

The windows are accompanied by a stone plaque engraved with a poem, commissioned from Elizabeth Alexander, titled, “An American Song.”

The dedication and reading will be streamed live on the Cathedral’s YouTube channel:

A history of the confederate windows, the task force that convened to study and remove them, and the project to replace them, is at cathedral.org/windows.

Non-Existent Cady Nolands

Once I could confirm she included no LL Bean tote bags, I made my peace with not blogging every review and post and image of Cady Noland’s one-room exhibition at Gagosian. But it’s hard to resist, especially in this window before I get to the show in person.

detail of a photo of archival Polaroids from Cady Noland’s exhibition at Park & 75th, showing an undated sculpture with the label, “doesn’t exist,” via octavio-world

On tumblr Octavio has posted some intriguing photos that were not in the gallery checklist: a collection of archival Polaroids, some stacks several pictures deep, of earlier installations and details of work. I’m going to wait to go through them more carefully, but I will absolutely rush to post the discovery of a new category of Cady Noland sculpture alongside “destroyed by refabrication” and “disavowed because of damage and conservation shenanigans”:

“Doesn’t exist.”

I Have A Few Bluesky Invites

As the poisoning and destruction of twitter continues apace, I’ve been expending more of my social media energy on Bluesky, which is still in testing mode. The current owner of twitter has apparently taken to disabling accounts that publicize Bluesky or Bluesky invites, but that is fine.

If you are a greg.org reader and would like an invite, please email me. ~~I have a few to share~~, and would love to see more folks there. First-come, first-served.

[UPDATE: OK, I’m out of invites for the moment, but will share more again when they come.]

[I am also on tumblr, at gregdotorg.tumblr.com, and would love to connect with greg.org readers there, too. Follow and let me find out.]

Mapleton, Utah And My Grandma’s House, 2023

Wolfgang Tillmans, *Provo, Utah and the Wasatch Range of the Rocky Mountains*, 2023
via David Zwirner

iykyk

EK 808: The Making Of

Ellsworth Kelly created his first floor piece, Yellow Curve-Portikus, in 1990 in Frankfurt. When the Raleses sought to recreate it, Kelly made a new work, Yellow Curve (EK808), in 2015. He supervised a test installation at Glenstone before he passed away. The video above is about the realization of Yellow Curve this year, for the EK 100 exhibition marking the centenary of the artist’s birth.

I love that at Portikus, the architecture was the fixed constraint, providing the parameters Kelly used to create the shape of the work. And at Glenstone, the work Kelly made provides the parameters for the space, which is built to fit. A perfect inverse which results in, seemingly, the same visual and physical experience. It’s the little differences.

Previously, related, it sounds like this one is a refabrication of the 1992 floor piece, though. How does that work?: Ellsworth Kelly, Red Floor Panel (1992)

Gerhard Richter Dishes?

Gerhard Richter porcelainware set, 1992, for Edition Obelisco of Cologne, this set of six placesettings sold at Stahl in Hamburg in 2016

While looking for something else, I stumbled across this set of porcelain dishes by Gerhard Richter. They were apparently produced in 1992—there’s a big RICHTER 92 signature baked onto the bottom of everything—by the Thuringian porcelainmaker Kahla as part of an Edition Obelisco series of artist-designed dishware.

So now I’ve got to resist being one more empty result in the little swirling eddy on Google linking Richter and Obelisco and nothing else. Other listings say Edition Obelisco was commissioned for the 1992 edition of Art Cologne, but the Hamburg auction house Stahl that sold these six 7-piece place settings (six chargers, plates, soup dishes, cake plates, cups & saucers, and mugs) in 2016 said it just debuted at what was once the most important art fair around.

It’s hard to tell from the picture, but the blue brushstroke design of Richter’s dishes is apparently raised up from the white surface. The Gerhard Richter Archiv in Dresden, which has two place settings, reports that the planned edition of 500 sets was not realized because of production challenges. [From the various online images, maybe they had some trouble getting the blue right.]

this absolute mess of a plate by Walter Stöhrer didn’t sell last December. image: invaluable

Other artists in the Edition Obelisco series included a bunch of dudes—Michael Buthe, Alain Clement, Alan Jones, Emil Schumacher, Walter Stöhrer, Claude Viallat, and Wolf Vostell—and Isa Genzken, then still married to Richter. Out of all that, only one awful plate turns up online. Unless Vostell’s dishes are all encased in blocks of concrete, the only other one I want to see is Genzken’s. This whole project feels like a reunification euphoria fantasy that didn’t work out.

[Feb. 2025 update: the Gerhard Richter Archive in Dresden has photos and more information about the Richter Dishes collection, but does make it sound like, though not the full ed. 500, some were produced.

1986

It’s been two days and the #CadyNoland hashtag’s been kind of quiet. Maybe folks are still thinking about what a newly seen 1986 work might imply about the possible existence of a Cady Noland Warehouse. [wtf send moar pics]

“Hopefully, instead of providing solace, a new source or cause for anxiety is opened up in relation to the coupling and uncoupling of elements in a way that has no predictable relation as to whether things are old or new, or in what manner they are alike, like a random killer being on the loose,” Cady Noland wrote in the artist statement for her first solo show, at American Fine Arts, in 1989, the date for most other Untitled (Walker) works, as published in The Clip-On Method.

Also: “I made three pieces with walkers and police equipment. These are more about the _equilibrium_ of the iconographic police officer who manages at once to enjoy the righteous action ‘out there’, a place of danger and thrills, but also to fulfill the comforting but suffocating tedious obligations to the family, civilian life, etc. The hero cop is a family man, not a ‘swingle’ (the occasional deviant ‘kook’ like Serpico or the fictive Dirty Harry notwithstanding).” Hmm.

Cady Noland, *Saw Action/Duty*, 1986, metal walker, metal police badge, leather glove, leather holster, ticket book, leather strap with metal hook, published in *The Clip-On Method*, 2019

Later today update: Three things to note from revisiting Noland’s 2-volume publication, The Clip-On Method, which was released with her 2021 show at Galerie Buchholz. This 1986 Untitled (Walker) is not represented, but a similar work, Saw Action/Duty, is.

She wrote about how adding or taking away elements of her sculptures doesn’t change their meaning—until it does. It’s an idea that prompts closer study of what each work comprises, and where they differ. [It also prompts me to imagine a Cady Noland Kit of Parts, where she can stick accessories together like an Officer Potatohead, give it a name, take a picture, then dismantle it, and repeat as often as she likes. ACAD (All Cadys Are Documentation).

Or are they? Of the 162+ images of works in The Clip-On Method, 59 of them are not from exhibitions. It’s an admittedly crude metric for tabulating her total output. But it does feel significant that just two years ago, the universe of known Nolands grew by more than 50% in one pop. And now, two days later, a new show with another previously unseen sculpture confirms that the Cadyverse is still expanding, and at an accelerating rate.

Pictures Sam Makes

Sam McKinniss, *Joyce Carol Oates*, 2023, Oil on linen, 20 x 16 x 1 1/2 inches
Photo: Hannah Mjølsnes via Blum & Poe

Blum & Poe are not splitting quietly. They just opened “Pictures Girls Make,” a show of portraiture curated by Alison Gingeras that looks fantastic.

The title comes from Willem de Kooning, a derogatory quip about his wife Elaine’s portrait practice. So of course there’s an excellent, faceless portrait of Frank O’Hara to start the refutation. A rocky Gertrude Abercrombie self-portrait, Beauford Delaney’s glowing yellow painting of an unidentified man, and a spare, muted picture of John Ashbery by Fairfield Porter are just some of the unexpected vintage treats. It’s an unusually literary show.

Sam McKinniss, *Lana Del Rey reading The Paris Review*, 2023, ed. 25, 30×22 in. sheet, via TPR

But when Benjamin Godsill and Nate Freeman on Nota Bene were discussing Sam McKinniss’s new print to benefit the Paris Review [9/10/23, around 30:00], Godsill absolutely went off on Sam’s portrait of Joyce Carol Oates, “The greatest artwork I’ve seen this year.”

Literally cracking up in response, Nate goes, “It’s a perfect Sam McKinniss painting, because it’s a painting of a subject, and it’s a painting of so much more than that”

“And it’s a tough picture, but it’s so well done, it is really, absolutely fantastic.”

I have had a no-engagement policy with JCO for my entire tenure on Twitter, but as that world falls apart, I will make an exception offsite, for Sam. Because it does rock rather intensely.

Pictures Girls Make: Portraitures, curated by Alison Gingeras at Blum & Poe LA runs from 9 Sept til 21 October 2023 [blumandpoe]
Does Lana Del Rey read The Paris Review? [theparisreview.org]

Ellsworth Kelly, Green Panel (Ground Zero), 2011

Ellsworth Kelly, *Green Panel (EK1022)*, 2011, painted aluminum, ACII sold at Sotheby’s in 2013

The circumstances of the shape are well-known, and generative: Ellsworth Kelly saw an aerial photo of the World Trade Center site illustrating a 2003 New York Times article about the controversies over what to build. Kelly collaged his proposal, which he sent to the Times, which Herbert Muschamp donated to the Whitney. Interestingly, Kelly’s collage vividly captures the color of his proposal to fill the entire site with a large, grass-covered mound, used only for resting and gathering, while the flat, isometric image elides the actual form. Neither, as it happens, is it captured in the abstracted aluminum object he made in 2011, which somehow feels even flatter.

The circumstances of making this object are unclear, at least to me. There is the possible timing of an anniversary, of course. The collage was included in Peter Eleey’s show, September 11 at MoMA PS1, but a green panel was not.

The size of the panel is very small, even domestic: 22 1/4 x 49 1/2 in. (56.5 X 125.8 cm). This feels like an object to live with. It was produced in painted aluminum by Carlson Baker, fabricators who were very familiar to Kelly. It was made in an edition of three. Kelly gave ed. 1/3 to the Whitney. The example sold as a fundraiser for something at Sotheby’s in 2013 was listed as AC II, so Kelly had at least two for himself. The title then was Green Panel (Ground Zero), but the fabricators listed it as Green Panel, with the CR number, EK1022. The example hanging in the final gallery of the EK100 show at Glenstone is from the collection of Jack Shear. I recall it as thicker than expected, an aluminum slab rather than an aluminum sheet. Maybe that is the first one. Did they have it up in their house?