Photos from Artissima, Turin’s contemporary art fair
“We make money not art” has uploaded a few of the many images they took at Artissima, Turin Italy’s contemporary art fair. If the photos shown are indicative of the rest of the show it looks to be something not to be missed. Read more here
This week in “Can’t Muster the Engergy to Not Even Care About This” is a toss up
Cant decide which is of less interest, work begins on Lady Gaga’s 8 wax figures at DC’s Madame Tussauds or Sophie Crumb (daughter of Robert Crumb) releases a book of drawings that make her father look like Albrecht Durer. Read more here & here
Someone is selling off their VIP Access to Art Basel Miami Beach
Someone has put their VIP packet up on Craigslist for a minimum of $500 which gets you access to all the major events hosted by Art Basel and the Satellite Fairs. It doesn’t get you into the Delano Hotel though unfortunately you still need an even rarer commodity to do that, an actuall young & sexy woman on your arm to get the pleasure of paying $16 for a mojito. Buy your way in here
The British Government denys export license in effort to keep a Turner Painting Sold in Auction to Getty Trust in British Hands
The British government has announced Wednesday that the required export license for “Modern Rome – Campo Vaccino,” which Turner painted in 1839, will be held up through Feb. 2, and potentially until Aug. 1, to give potential buyers who want to keep the painting on British soil a chance to match the J. Paul Getty Trust’s bid. Read more here
Rochelle Slovin Director of Museum of the Moving Image To Step Down After Renovation
Read more here
Amedeo Modigliani Nude Painting fetched a record-setting price of nearly $70 million
A wise woman with striking red hair told me a few weeks back that the nude is coming back stronger then ever and she may just be right. Amedeo Modigliani’s Nu assis sur un divan (La Belle Romaine) [Nude Sitting on a Divan (The Beautiful Roman Woman)], a canvas from an important series of nudes, drew five telephone bidders into a heated competition at the fall sale of impressionist and modern art ultimately selling to an anonymous buyer for $68.9 Million US. Read more here & here
The LA Times Wrings it Hands over Art Walks
The LA Times asks do Art Walks help or hurt the local scene, they might as well ask does wine production effect gallery openings; its a zen question that keeps getting asked and its ultimately pointless. Just be glad people show up at all since the overlap between the two worlds is so small if it was a Venn diagram it would look like a pair of spectacles. Read more here
The Art Newspaper Asks Does Sex Sell at Frieze
Read more here
This week: The kick off of a series of programs recorded at Baer Ridgway Exhibitions in San Francisco during BAS’s mini residency as a guest of Chris Duncan during his “Eye Against I” exhibition. Brian and Duncan talk with Chris about the series, and then the main event Tammy Rae Carland! In addition to being a fascinating guest, Tammy is the only guest we’ve had who has a song written about them to utilize as their intro/outro clip (by the awesome band Bikini Kill no less).
Bio lifted from Tammy’s site:
Tammy Rae Carland was born in Portland Maine in 1965. She received her MFA from UC Irvine, her BA from The Evergreen State College in Olympia Washington and attended the Whitney Independent Study Program. She is an Associate Professor at the California College of the Arts where she also Chairs the Photography Program. She is represented by Silverman Gallery in San Francisco and primarily works with photography, experimental video and small run publications. Her work has been screened and exhibited in galleries and museums internationally including New York, Los Angeles, San Francisco, Berlin and Sydney. Her photographs have been published in numerous books including The Passionate Camera; Queer Bodies of Desire and Lesbian Art in America.
Her fanzine writing has been republished in A Girl’s Guide to Taking Over the World. She has also published photographs and received reviews of her work in numerous national media including: The New York Times, Big, The Los Angeles Times, Spin, Details, Out and The Village Voice. In the 1990’s Carland independently produced a series of influential fanzines, including I (heart) Amy Carter. She has collaborated on the record art of some seminal underground music releases for the bands Bikini Kill, The Fakes and The Butchies. From 1997-2005 she co-ran Mr. Lady Records and Videos, an independent record label and video art distribution company that was dedicated to the production and distribution of queer and feminist culture. Tammy Rae Carland lives in Oakland California.
PS: A hearty “Fuck You” to Libsyn and their crappy software. This is the third time I’ve written this. Turn off or down the “time out” function on your site, jerks.
Versailles art show hit by injunction bid
From the wet dreams of the marketing people behind Japanese pop artist Takashi Murakami’s show at Versailles a descendant of the man who built the Versailles Palace in France is seeking an injunction to prevent modern works by Japanese pop artist Takashi Murakami from being shown there. The legal battle is fronted by Sixte Henri de Bourbon-Parme in defence of “respecting the chateau and ancestors.” The ultra-conservative royalist has united with a group, the Versailles Defence Coordination, to file the suit, in which they stake a claim for the “right to access to heritage.” Read more here
Prince Charles offers to oversee London architectural planning
This week in “What could possibly go wrong?” Prince Charles offers to take on key architectural planning role in the vaccum created by the quasi-autonomous non-governmental organisation that had its funding axed in the comprehensive spending review. The offer, announced by the foundation’s chief executive, Hank Dittmar, has been met with dismay by leading modernist architects who fear Prince Charles may use the role to advance his own traditional tastes in design. Read more here
Studio Manager Anne McIlleron talks about her boss William Kentridge
William Kentridge who is the focus of Art:21′s first feature length documentary (recently reviewed here and just broadcast on PBS this week) let his Studio Manager Anne McIlleron speak on what looks to be B-roll of the Art:21 documentary, its interesting but I am still of the opinion that William Kentridge wasn’t the best subject in the world to get this kind of treatment, just me I am sure. See more here
Kronos Quartet Interviewed
I cant get enough of Art Babble I admit and double so for the Kronos Quartet (which Duncan & I caught in concert last time they were in Chicago and were amazing) so when you merge the two together it’s PB&J perfection. See More Here
New Yorker cartoonist Leo Cullum died
Leo Cullum, whose cartoons kept readers of The New Yorker laughing for 33 years, has died. He was 68. Read more here
The art world’s own Bernie Madoff
Lawrence Salander Read more here
Google DemoSlam is previewed
Google has previewed a new site called demoslam built to encourage the creation and rank the best tech demonstrations on the net, part of me has long thought this was something the art world should have created a long time ago, free idea (hey get what you pay for) to whoever has the time and wants to put the work into it, Youtube was built for the Art world and a project like this (even though we all wish it looked like Vimeo). Have at it and God bless at this point I just want a life for a while lol. Read more here
The following stolen from the Greenpeace site:
Alexis’ paintings visualise the hopes and popularly held fears about scientific progress and the wide-ranging effects of human intervention on animal species, ecosystems, and the natural world.
We are brought face to face with a future that is at once surreal and unsettlingly familiar. Mutant animals, geometric landscapes, alternative environments either sterilized by science or unredeemably altered due to pollution. All this makes for some uncomfortable viewing.
“My position is one of ambivalence as the horse is already out of the barn so to speak; it is not biotechnology that is the problem but corporate America or globalism or colonialism. The implications of using this technology are far more devastating because of the unknowable effects. This is something that is very disturbing and visually compelling to me,” explains Alexis.
Despite the questions that Alexis’ work throws up about humanity’s role in shaping a dystopian future, there’s no obvious judgement in it.
Every element in the art is painstakingly researched. All the biological images have been developed through extensive collaboration with specialists in molecular biology, genetics, natural history and medical science.
“I really have to say these are relatively neutral images even if I use information that tends to make people feel uncomfortable. But I don’t see that as negative. I try to show things that are obviously familiar but also inform them with as much cultural and scientific history as I can, so that they are credible.
“The stuff that may not be noticed – for instance the geometry of the landscape in ‘The Farm’- to me is far more scary than an albino hairless mouse with cartilage growing on its back. I am also trying to make an emotionally resonant image that reaches people. I try to make it as credible as possible without making it boring.”
Alexis is aware of the political power of his work. As an American, he believes he is well placed to bring attention to the consequences of his homeland’s environmental, economic and political policies.
“I am of a generation whose relationship with the government and big business comes out of a post-Watergate scepticism. How could my work not have a political effect? I feel like I am in such a privileged position I would find it unconscionable if I didn’t take advantage of that as someone who cares about these issues.”
Collectively, the paintings presented in ‘Wonderful World’ offer a graphic vision of a bio-engineered near future in which human and animal bodies, crops and plants have been genetically altered to suit a variety of needs – whether commercial, aesthetic, medical or gastronomic.
Despite the potentially complex nature of the exhibition he makes a point of not being elitist, as his subject is something that touches every person on the planet.
“I don’t expect anyone to know anything. That is why I am a populist. If I have a show and people from different demographics come to find out about global warming, I don’t want to lose half of my audience due to my arrogance. It has to be decipherable to a six-year-old child. I try to construct it as an onion with different layers of meaning and iconography.”
The negative consequences of industrial and technological progress are rarely addressed in a modern culture fuelled by the products of multinational entertainment conglomerates. Alexis’ paintings hang out on the edge of complacency, forcing us to confront a vision of the future implicit in the choices we, as a society, make today.
This weeks show is dedicated to the memory of Penny Zeidman.
October 22, 2010 · Print This Article
All of the Artists on the short list have done amazing work and many that were not included deserved to make the final but this isn’t really about awards its about engaging the public. To that end Bad at Sports has officially come off the bench to support one canidate to win and that would be Steve Hamann’s History of ‘Bad at Sports’ (Work on Paper).
I know reading that you might think we are biased but that could not be further from the truth; I hate Steve Hamann. He is an annoying artist that has been the bane of my existance for longer then I would like to admit so when I ask you to vote 6 or 7 or even 10 times for his work at theWit Hotel (hell get a room and just vote everytime you cross the lobby) you will know that I do so on the merits of the work and no other reason. How great must that work be for me to ask the thousands of readers of Bad at Sports to reward a man that reads dead baby jokes in nursery wards. I may not love the artist but I salute the art.
Now having established that we will all vote for Steve “The Ego from this point out” Hamann to win lets spend some time on the great artists that should get second and third. They are hard working artists the lot of them and deserve more attention then even this is giving them, starting with a old friend Bernard Williams.
Daniel Lavitt: Till We Meet Again (Sculpture)
Chicago French Market – MetraMarket
Giovanni Arce: Bush (Painting)
Joseph Ivacic: Staying Connected (Sculpture)
Len Upin: Helen (Work on Paper)
Yva Neal: WAKA: Wall Altat of Kismet Abundance (Installation)
W Chicago – City Center