It’s just a couple of minutes walk from 356, south toward the Instagram Influencer Bridge, past the Explore Vatican Immersive Sistine Chapel Experience, to Luna Luna, the Artist Carnival Immersive Experience Drake just installed in a 60,000 square-foot soundstage that’s part of the 18-acre property being assembled by Anderson Real Estate, which owns and manages 4.5 million square feet of commercial properties in California, Hawaii, and the US Virgin Islands.
an unidentified photo of Duchamp’s 1938 installation, with paintings hung on one of two revolving doors he put on either side of the perforated iron brazier that provided most of the light. ganked from Elena Filipovic’s dissertation
Specifically, I never really noticed or heard that much about the revolving doors Marcel Duchamp used as exhibition devices in the 1938 Exposition internationale du surréalisme he designed/curated at the Beaux-Arts in Paris. As Murtha pointed out, Duchamp later considered other elements from the show to be artworks—1200 Coal Bags Suspended From The Ceiling Over a Stove, for example—but the doors didn’t get the same treatment. Despite, as I see below, Duchamp’s well-documented interest in doors—and Large Glass works that, you must admit, look rather doorish.
It feels like worlds ago, and world ago all the way down. And also just yesterday.
For a few hours in the Summer of 2023, an Instagram account that tracks the work of artist Richard Prince posted a picture of a rusty shoe tree, standing in front of an abstract painting. It echoed the original image of Marcel Duchamp’s Fountain, which Alfred Stieglitz photographed in front of a Marsden Hartley painting in 1917.
Marcel Duchamp’s Fountain, photographed in front of Marsden Hartley’s The Warriors on April 19, 1917 by Alfred Stieglitz
The Instagram image included text elements: DEPOSITION above and RICHARD PRINCE below, with a url and password to an unlisted video file. The video, more than six hours long, appeared to be a recording of Richard Prince’s deposition in a pair of conjoined lawsuits filed by photographers Donald Graham and Eric McNatt, in 2015 and 2016, respectively. Both men objected to photos they took, posted to Instagram by others, which appeared in Prince’s 2014 New Portraits series.
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?
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.
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-worldAnother detail of the archival Polaroids, with another Cady Noland that “doesn’t exist,” from 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”:
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.]
Last Sold: 8/6/2018, Zestimate®: None, Zillow screenshot
Until 2018 Edisto Island meant one thing in the contemporary art world. Then after, it meant another. Or rather, it meant two things. On August 6, 2018, Cameron Rowland bought an acre of land that had once been part of an enslaver’s plantation; then was part of a “forty acres and a mule” Freedmen’s reparations order; and then was almost immediately repossessed by the former enslavers. Rowland bought the land and placed restrictive covenants on its deed that remove any use or monetary value. The land and the deed constitute their work, Depreciation, and Dia just announced stewardship of it.
The work comprises the land and the deed, but that is not all. Depreciation is owned by 8060 Maxie Rd, Inc., a not-for-profit corporation Rowland established to execute the work. The company is named after the land’s address on a road named after the enslavers. Rowland maintains the corporation, and thus ownership of the work, and has put it on extended loan with Dia.
Flow Homage to Enzo Mari, 2022, low gauge steel, for beautifulpeople by Daisuke Yamamoto
Does the algorithm have me? I was unable to resist the suggested instagram post featuring this Enzo Mari autoprogettazione project at the Salone in Milan. But I at least did track down the actual designer and the actual project, rather than credit the insta-clout-chasing design aggregator.
beautiful people unseen archives pop-up made of LGS, including these Enzo Mari chairs, by Daisuke Yamashita, photo Kozo Takayama via IDREIT
Daisuke Yamamoto’s FLOW project is an exploration of material reuse and recycling that proposes to make furniture out of decommissioned light-gauge steel (LGS) beams. In Milano Yamamoto made chairs not only by Enzo Mari, but by Gerrit Rietveld and others. The origins and evolution of the project are documented by the Melbourne-based Japanese design site IDREIT.
ngl, part of the reason I’m running away to the countryside today to see art I’ve just seen is because it’s unexpectedly hard to sit at a computer, at a blog dashboard, and know that Heather Armstrong was around, and now she’s not. Our paths ran in parallel for a long and formative time, and they intersected in many ways, both major and minor, and they diverged. But her voice, her presence, her influence, has been a constant in some form for decades of my life, and it’s painful to know she’s gone. It’s painful, too, to even get glimpses of the suffering and challenges she dealt with, and it is gutting to know that her family and friends will have a hard road ahead. So yeah, I’m going to take a minute.
You cannot overestimate my incredulity when I saw this jpg that purported to be a three-storey tall Cy Twombly painting at the Vienna State Opera. image: mip.at
I saw this gigantic Cy Twombly painting on the landmarked firewall of the Vienna State Opera, called the Iron Curtain, and was like, that is totally fake. It is a rendering. And it was.
OK maybe this is real? But still not a painting, though, right? image: mip.at
This is what the Twombly fire wall looked like installed in 2010-11. So pretty close, except for the color of the canvas and the paint. Except this 176 square meter image was inkjet printed on PVC mesh, like a billboard. The picture is of an untitled 2005 painting from the Bacchus series. Twombly painted these dripping red loop paintings with giant brushes on sticks, like if Cold Mountain-era Brice Marden just got back from the Iraq War. Everyone wants the Bacchus paintings to be about the Iraq War.
Untitled paintings installed at Cy Twombly’s Bacchus, 2005, uptown Gagosian
The original is 10×16 feet or so. Here it is installed at Gagosian in 2005. They really cropped that right down. In 2008, between this show and the Vienna State Opera commission, Twombly showed a couple of a third batch of Bacchus paintings at Tate Modern. After his death, the Foundation ended up donating three of them, plus some sculptures, enough to fill a permanent room, which feels astute.
The Safety Curtain Project has been selecting contemporary artists for the Vienna State Opera fire wall since 1998. It is run by Daniel Birnbaum and Hans-Ulrich Obrist, the only two curators in Europe. Oh wait, there’s a third now. Bice Curiger has joined the group chat. I love them all like brothers, sisters, and/or non-binary siblings, but seriously, enough.
Guardian screenshot of Caravaggio’s nude ceiling selfie, cropped to be sfw, but backwards
The Casino di Villa Boncompagni Ludovisi in Rome is for sale, and the hook for media coverage is not the Guercino painting in the foyer of radiant Dawn riding her chariot across the glowing sky that gives the house its nickname, Villa Aurora. Instead it’s the oddly composed mural on the ceiling of a small upstairs room, the only mural painted by Caravaggio.
It has been appraised somehow at EUR310 million, which helps bring the opening bid for the auction of the former hunting lodge on a half-acre hilltop next to the Borghese to EUR471 million. The Italian state has the right to match any winning bid.
The mural is purportedly on the theme of alchemy; the room it inhabits was initially a laboratory, and housed a distillery. It depicts a celestial sphere flanked by three nude gods, Jupiter, Neptune & Pluto–the model is the artist himself, who was 25 years old in 1597–letting it all hang out in extreme perspectival, toga-less majesty.
Which prompts two questions, one historic, one contemporary: what are the circumstances under which a 25-year-old emerging artist paints himself nude, three times, towering over the viewers below? And why is it so hard to figure out which way the mural is facing? Because it is reproduced in both orientations almost equally.
