For one thing, it’s actually signed by Raymond Pettibon, which is a flex. But more importantly, it’s been used, ground to hell, in fact, with razor tail that eats into the Black Flag logo. Because if you’re gonna put art on a skatedeck, you should have the decency to skate on it.
There are four other skatedecks in the auction, a slew of t-shirts, and a ton of flyers and such.
Add MoMA conservators to the list of people who did not, in fact, go into 2016 with an idyllic, carefree existence. For a glimpse of the drama and stress that befell them, I quote here from their 2017 article in Object Specialty Group Postprints [pdf], published annually by the American Institute for Conservation, on the conservation of Untitled (1976), an unfired mud sculpture by David Hammons, which had just been donated to the Museum by AC Hudgins and family:
The work was first exhibited in 2015 for MoMA’s exhibition Take an Object(fig. 3). Its deteriorated condition was already a concern to the curator, conservators, and registrar, so they had it installed under a custom Plexiglas bonnet. As the work was being deinstalled from the exhibition that a small clump of mud fell from the sculpture and landed on its base. This event, in addition to the work’s condition, led us to question its overall structural stability and basic conservation maintenance plan. So precarious was the piece that the slightest vibration caused the cone to sway, creating a cloud of dust. Moreover, a large crack exposed an interior wooden dowel.
screenshot of MoMA Conservation photo and diagram of David Hammons’ Untitled, from “‘Do What’s Right,'”OSG Postprints, 2017
The report captures the history of caring for an unfired clay object; the considerations of treating an artwork vs. a cultural or religious artifact; the test replica-making process; and, most entertainingly, the fascinating challenge of working with a living artist who is perhaps best known for his disinterest in art world conventions. The title, “Do what’s right,” turns out to be the entirety of Hammons’ input to the Modern’s conservation team. I hope they put it on some tote bags.
Thanks to the gentle, offsite querying of Hudgins, a longtime Hammons friend and MoMA trustee, it was learned that Untitled was cast in a traffic cone. And as they theorized from studying their replica, yes, many of the black-eyed peas inserted into the soft mud had popped out soon after it dried.
To find out what conservators did with the fallen clumps and cracks, and to see photos of Untitled‘s new custom crate, read the report. The only spoiler I have to share is that not only is the Hammons on MoMA’s No Travel list, it is “currently one of only four sculptural works at MoMA that cannot be transferred to storage in Queens.” And now I wonder what the other three are.
Because the resulting work is dated 1990, I forget that the invitation by the National Gallery of Iceland to make a permanent public sculpture came in 1988, while Richard Serra was still in the throes of suing the US Government over the removal of Tilted Arc.
Anyway, I’ve been three times over the years to see Afangar, the series of nine pairs of basalt columns around the edge of Viðey Island in the harbor of Reyjkavik, and it works every time. Like the giant steel plates Serra installed in Qatar, the tops of the 18 columns are the same elevation around the edge, subtly marking the changes in topography.
And even though there are hundreds of them, somehow it’s been easier to see the sculpture in Iceland than to see the various prints Serra made of them. Of the five series and three prints, my favorites, in theory, are the tiniest ones, the Videy Afangar series, made on a series of deepcut, 4×6-in. copperplates. I say in theory because I think I’ve only ever seen the entire set of ten prints once, and never for sale, and have just spotted loosies online since, but never in person.
But the contrast between the scale of the image and its size, and the general monumentality of Serra, is really nice. They feel like they were taken straight from his sketchbooks.
If you ever get a chance to see Afangar in person, definitely do it, and if you ever have tips on seeing some related prints, definitely hmu.
Black Quasi Bricks, 2003, at neugerrimschneider, photo: Jens Ziehe via olafureliasson.net
Scrolling in the Olafur Eliasson results on liveauctioneers for farflung oddities I’d missed, I came across this unexpected familiar item right in front of me that I’d also missed.
