Lot 313: Takashi Murakami, MOCA Flowerball Chargers, 2007, via LA Modern
Takashi Murakami designed the printed plastic chargers that decorated each place setting at MOCA’s 2007 Gala. During the dancing, with Tom Ford egging her on, Naomi Campbell started collecting chargers from unattended seats. When people realized what she was up to, it triggered a hoarding frenzy. If you ever see a full set, though, you can guess who the seller is.
This pair chargers must have hailed from a calmer section of the party. A corner where a savvy galagoer had the foresight to bring a Sharpie and invite the guest of honor to sign the their chargers on the verso. He even took several seconds to add doodlese of his little characters. Was there perhaps a line, a scrum, of eager autograph seekers? Did MOCA’s wealthiest patrons stand around in a circle with their little plastic plates, or did they bring them to the gala’s head table where Murakami and Nigo were holding court?
As is the nature of Gala Art, to know how it went down, you had to be there. And now if you buy these plates, you can pretend you were.
As the LA Times’ Christopher Knight reported, the grand prize winner, Providence’s stainless steel trophy will be shiny, while the other winners’ trophies will have a blacker finish. All will consist, however, of a compass suspended from a circle nested in a square nested in a dodecagon, which represent, respectively, movement toward a common goal; the angle of rotation of the earth; a map; and the demarcation of time in hours and/or months.
Olafur’s Mayors Challenge Prize is the slow-ripening fruit of Bloomberg [Mayor’s and Philanthropies’] collaboration during the Public Art Fund-sponsored NYC Waterfalls project. It joins a rarified group of trophies designed by artists of the day, including:
Also in 2011: Marc Quinn created The Bianca Jagger Foundation For Human Rights’ “Award For Courage,” in collaboration with Swarovski. It was a painting, which he did for the Foundation’s logo, which was used in the award. The inaugural recipient, Ai Weiwei, was unable to attend the gala, held at Phillips de Pury in London, where donated artworks, including Quinn’s painting, were sold to raise million of dollars.UPDATE: Quinn also designed the “Award For Leadership,” whose recipient, Chief Almir Narayamoga Surui, Chief of the Gamebey Clan of the Suruí People of Rondônia in Brazil appears also to have been unable to attend what looks to have been a dazzling, self-funding evening.
Is this a flurry of artist-designed awards? Perhaps, but the genre does have a history.
There’s the Ellie, of course, replicas of Alexander Calder’s stabile Elephant, which have, since 1966, been given by the American Society of Magazine Editors to winners of the National Magazine Awards. [That’s Chris Anderson and David Remnick hauling home three each in 2009, via adage] I can find no information on how Calder’s sculpture came to be used, nor can I see any info on the “original” stabile. Which situation I find interesting.
And my favorite, which has been sitting on my desktop for months now, and whose genesis has the greatest similarity to Bloomberg’s Eliasson: Rockefeller’s Kelly. In 1967, Governor Nelson Rockefeller commissioned Ellsworth Kelly to create the New York State Award. The felt banner, produced by the noted art banner publisher Betsy Ross Flag and Banner Co. in an edition of 20, was given to admirable arts and culture-related projects and institutions by the New York State Council of the Arts.
UPDATE: I’m sorry, did I say that was my favorite? It was until five minutes ago, when I discovered that in 1998 Robert Rauschenberg created the Equine Posterior Achievement Award for People For The American Way. The horse’s ass was cast in bronze by Robert Graham, and has been presented as needed to political and cultural leaders “whose abilities to misrepresent an issue, manipulate his or her followers and pander to our basic instincts reach such ridiculous levels we don’t know whether to laugh or cry.” God Bless you, Robert Rauschenberg, and God Bless The United States of America. [By 2014 Ted Cruz had won the EPAA at least twice, but I guess things have taken an unfunny turn since, because I haven’t seen any more recent winners.]
The ten winners in this, the 2nd year of the award, include St. Vincent, Doug Aitken, and Dave Eggers. Too bad the first year’s Ingeniuses don’t get one. I’m sure they got a nice plaque, though. Or a light bulb.
Nov. 2014 update: Did someone say lightbulb? I don’t know how I completely forgot that Rob Pruitt designed the trophies for his Rob Pruitt Art Awards, held in association with the Guggenheim in 2009 and 2010. The 2009 trophy was a champagne bucket lamp, with a light bulb that Art in America, at least, saw as a Jasper Johns reference. There were ten distributed, and more made, for sure.
May 2018 Update:Hrag tweets from the Noguchi Museum gala that recipients of the Noguchi Award receive a desktop-sized Red Cube. Unlike the original, which is perched on a corner, the trophy version nests in a small, black base. [Also, the Noguchi Award was not initiated until 2014 (pdf), a year-plus after this compilation was first posted.]
Naoto Fukasawa holding his 2018 Isamu Noguchi Award, image: @hragv
And just like that new updates beget new information. Everyone’s a winner! @RealSparklePony [accept no substitutes] tweets that the National Cartoonists Society’s Reuben Award [below] for Outstanding Cartoonist of the Year, is based on a sculpture by the NCS’s longtime honorary president, Rube Goldberg. The statue was introduced in 1954, when the award was switched from the Barney to the Reuben, and the eight previous OCOTYs, got theirs backdated. [The award ceremony is Memorial Day Weekend, so it’s coming right up!]
The Reuben Award from the National Cartoonists Society, designed by Rube Goldberg. [h/t @RealSparklePony]I made a Tom Otterness joke about this Goldberg statue, which led me to search for Otterness trophies, which totally seem like they should be a thing. And well, in 1998, the Whitney’s American Art Award was apparently designed by Otterness, and executed by silversmith Elliott Arkin.
Moneybag Man with Cellphone, aka, American Art Award, 1998, by Tom Otterness, fabricated by Elliott Arkin
But no photos beyond 1998, which seems odd. Not as odd as the award statue they unveiled at the 2008 American Art Award gig at Hearst Tower, though. WT actual F? It is officially called Walking Whitney Museum, and it is by Laurie Simmons.
Leonard Lauder, Laurie Simmons, Victor Ganzi, and uh, Walking Whitney Museum, at the Whitney’s 17th American Art Awards, img: PMC/Getty (obv)
Does this mean there are 15 other artist-designed trophies for this one award? Yes, yes it does. And more. The Whitney’s American Art Award was begun in 1992, first in partnership with Cartier, and the director of the museum decided from among artists recommended by curators, who are in the collection, who will create an edition to be awarded to a corporate friend of the museum. In 2007 Whitney ISP Fellow Stéphanie Fabre wrote about the American Art Awards with refreshing candor:
The commissioned artwork is given as a prize, to honor the generosity of a rich individual or company, yet the exchange also highlights the commodity aspect of the work. The work of a mid-career artist has a decided worth, and the transaction between the corporation and the museum acknowledges this. But in the process the work also acquires a fetishistic value. Although the monetary value of the artwork given by the museum to its donor may be lower than the value of the gift given by the corporation to the museum, the work possesses a superior symbolic value, in part as a result of its affiliation with the Whitney. In addition — and as corporations know when they invest in art — art is often seen as elevated, noble, and permanent, and these associations add to the museum’s clout in the gift exchange.
And the catalogue [pdf] has all the photos. We have tapped a rich vein I am ashamed to have somehow never heard of. And here I thought I knew all the gala potlatches in Manhattan back then.
New York State Award c. 1974, a Beverly Pepper sculpture.
Perhaps the Whitney cribbed the artist-a-year idea from Governor Rockefeller? @TedGrunewald just tweeted an incredible, fierce, sharp, wedge-shaped steel Beverly Pepper sculpture, which was the 1974 New York State Award. This pic comes from a spread in Brendan Gill’s 1975 memoir, “Here at the New Yorker”. Wallace Shawn eyed theirs warily: “It is not only a prize; it is also a weapon.”
