October 3, 2006 · Print This Article
Curators of a contest that stirs debate over the nature of art have a prime shortlist for 2006
If not for the exhibition labels, visitors to Tate Britain’s latest show would never know that the nondescript office tucked away at the rear of a series of galleries was a work of art. Nor would they realise that a cherry stone, a dirty cottonwool ball and other bits of debris in a display case were a sculpture.
But these are exhibits in the Turner Prize 2006 exhibition, and curators are once again courting controversy.
The Tate has allowed one of the four contenders for the £25,000 award to re-create a real office — complete with a staff of three, filing cabinets, desks and computers.
It is an installation and performance work that curators hailed yesterday as worthy of Holbein, the revered 16th-century master who has his own exhibition in the same building. The artist is Phil Collins, 36, whose Shady Lane Productions is a “fully functioning office” with a real-life receptionist and researchers who are trying to trace people who have been scarred by their 15 minutes of fame on television reality and talk shows. They will be there from Monday to Friday only, as they get the weekend off.
Yesterday morning, they appeared not to be doing much beyond sitting around, reading newspapers and chatting — a typical office, it might be said. Their conversation cannot be heard as the room is sound-proofed.
“It is the first time we have had live work as part of an exhibit,” said Katherine Stout, a curator. “This project investigates the relationship between the production of art and its wider social context.” As critics peered through the windows of the office, observing the researchers as if they were animals in a zoo, she insisted that it was art.
Gair Boase, her fellow curator, drew parallels between Collins and Holbein, noting how each produced “challenging” work in their day. “Holbein was about history and understanding what happened in the past,” she said. “Collins makes us think of the world today.”
Asked whether he would prefer to own a Holbein paintings or Collins’s office, Stephen Deuchar, director of Tate Britain, said: “I’d have the office — with a Holbein on the wall.”
Much of the iconic British work of the 1990s is now in US collections
By Cristina Ruiz and Louisa Buck | Posted 26 September 2006
LONDON. Frank Gallipoli, a commodities trader based in New Canaan, Connecticut, has bought several major pieces from Charles Saatchi’s 1997 “Sensation” exhibition. His purchases include Marcus Harvey’s 1995 portrait of Myra Hindley, Gavin Turk’s 1993 self portrait as Sid Vicious, Pop, and works by Chris Ofili, Jake and Dinos Chapman, Gary Hume, Jenny Saville and Simon Patterson. Mr Gallipoli is one of at least five US collectors who have bought art originally shown in “Sensation”.
As the Royal Academy in London inaugurates “USA Today”, a new show of work by American artists drawn from the collection of Charles Saatchi, we reveal where many of the works originally exhibited in “Sensation” are today.
is the owner of Marcus Harvey’s 1995 portrait
of serial killer Myra Hindley
Chicago Artists Month kicks off! Amanda and Richard go to the opening shindig at the Cultural Center and review the shows there-in, Richard confirms his lack of interest in photography, Amanda says “Op-Art” 92 times, everyone loves Ukrainian Modernism! Woo Hoo!
In memory o….I mean in the absence of Duncan we pulled an archival book review, Joanna Topor and Book Guru Terry Griffith discuss Duncan’s love of “Witchy Librarians” and the iconoclastic book WINKIE by Clifford Chase, an Orlando-esque tale of a stuffed bear accused of crimes he/she did not commit.
Superstar Brian Andrews hums Randy Newman and goes and checks out art in Los Angeles(where oddly enough we have a solid listener base).
Tom Scharpling from The Best Show on WFMU makes a guest appearance.
What happened to Duncan? Who knows.
September 30, 2006 12:00
AN iconic Australian painting has been given a metrosexual makeover to flog a local brand of mens’ underwear.
Tom Roberts’ famous Shearing the Rams canvas has been reworked to feature musclebound Aussie blokes shearing sheep in just their undies.
The AussieBum campaign is set to take the 100-year-old artwork to the world next week but is sure to outrage conservative art lovers.
Designer Sean Ashby defended his new take on the traditional impressionist piece as “promoting Australia’s past and what it means to be an Australian today”.
“More of our iconic businesses and traditions like shearing are either being sold overseas or dying off,” he said.
“This way we wanted to remind people to value their heritage and buy Australian in a cheeky way.”
BEIJING, China (Reuters) — A Chinese culture ministry official has denounced a university professor who stripped naked in front of students and teachers during an art class, a Chinese newspaper reported on Tuesday.
Mo Xiaoxin, a 56-year-old assistant professor at a university in Changzhou, in eastern Jiangsu province, shocked students by stripping during a lecture on “body art” to emphasize the “power” of the body and to “challenge taboos,” the Beijing News said.
“There are no taboos in the field of research, but to do this directly in the course of teaching is obviously not appropriate,” the paper quoted Tian Junting, a culture ministry official, as saying.
The lecture was part of a course within a newly established “human body art and culture” research institute — China’s first — at Jiangsu Teachers University of Technology, the paper said.
Mo arranged for four other models, including a man and woman in their 70s or 80s, and a younger couple, to strip naked in front of the class while he lectured, the paper said.
During the nearly hour-long class, Mo also invited students to take their clothes off.