This week’s pick is a 3 part documentary entitled Situationist International
“A video documentary combining exhibition footage of the Situationist International exhibitions with film footage of the 1968 Paris student uprising, and graffiti and slogans based on the ideas of Guy Debord (one of the foremost spokesmen of the Situationist International movement). Also includes commentary by leading art critics Greil Marcus, Thomas Levine, and artists Malcolm Mac Laren and Jamie Reid. Branka Bogdanov, Director and producer. NTSC-VHS 22 min. 1989″
You know, like Julian Schnabel-bashing was back in the day, before he started directing? I’m thinking yes. The unkindness of it all aside (and that makes for a very big aside, I know), Peyton does inspire some of the most deliciously evil descriptive sentences among those art critics who dislike her work. The latest example of anti-Peytonism comes from the normally polite Ben Street of Art21 blog. In his latest “Letter from London,” he reviews Live Forever, the Peyton survey that made the rounds in the U.S. last year to mixed reviews (to put a positive spin on it) and is now on view at The Whitechapel Gallery in London. The Brits aren’t taking any greater of a shine to her work than we did, judging from Street’s review:
“I donâ€™t understand why anyone would like Elizabeth Peyton, but I also donâ€™t understand why anyone would like egg whites or Coldplay or The Shawshank Redemption, so maybe Iâ€™ll never understand. Her first UK solo show at the Whitechapel Art Gallery is so fey and self-conscious that I had to crush a can of Bud against my forehead and punch the wall out of sheer repressed masculine frustration. The drive to the police station and subsequent waiting around for my lawyer gave me sufficient time to mull over Peytonâ€™s work. If I did like her work, what might I say about it? That its intimate scale and willful prettification of some of the ninetiesâ€™ butt-ugliest pop stars brings together teenage fandom and the tradition of 18th-century portraiture? That its objectification of sallow Caucasian male beauty strikes a blow for the female gaze? That the breathless swishiness of her paintbrush and contre-jour light effects create poignant elegies to the transience of youth? That Peytonâ€™s reimagining of Delacroix as the drummer in The Strokes and Napoleon as a Lower East Side DJ is somehow a radical reinterpretation of history? In Peytonâ€™s words, Napoleon was â€œa beautiful man and he had a big vision about life.â€ Ever seen Elizabeth Peyton and Sasha Baron Cohen in the same room together?”
Yeah, o.k., granted. But what I want to know is, as chroniclers of their respective art scenes, what makes Dash Snow so “subversive” (see round up of Snow’s obit coverage here) while Peyton is the freakin’ devil? Was it Snow’s semen-stained “Fuck the Police” thing? Is that really all it takes??
O, Art World. I will never understand your whimsical ways. At any rate, you can watch video footage from Peyton’s New Museum show at Vernissage TV, to whom credit for the image below is also due.
I’m back with fresh harangues! I haven’t found any truly worthy candidates in awhile but yesterday the Chicago architecture critic Lynn Becker posted a screed that pleased me greatly in its justifiable outrage. One of Chicago’s last 24-hour newsstands was torn down seemingly overnight by the French firm JCDecaux. Writes Becker:
“It’s another pound of flesh being extracted by JCDecaux S.A., the French firm with which the city signed a 2002, 20 year, $200 million deal for a monopoly on the city’s bus shelters. As with the recent parking meter deal, the Daley administration continues to turn control of Chicago’s streets over to private interests, and now we have things like a new Pritzker Park in the South Loop, where a huge area has been left unlandscaped to provide JCDecaux a place to put one of the food concessions promised them as part of the deal.
Crain’s Ann Saphir reported on Friday that the destruction of the Chicago Michigan newsstand was still another manifestation of JCDecaux’s control, as they will be constructing their own replacement beginning “at the end of the month.”
And, of course, while the city makes sure Decaux is taken care of, the newsstand’s proprietor, Anil Modi, who works long hours to keep his business going, gets screwed. He apparently gets to return, but no matter how long it takes to build Decaux’s stand, he’ll receive not a penny of compensation for all the lost income, no doubt part of the city’s strategy to just make him go away.”
“Let the Televised Bitch-Slapping Begin!” (marshallastor.com).
It has felt like a rather slow week for art news. Here are some of the stories you might have missed this week via our twitter page.Â On this weeks roundup you will find Japan’s bad ass million dollar, robot flying Spiderman, the history of the pubic wig, and one young man’s thoughts on the Walker art Center. Hope everyone has a great weekend. Maybe we’ll see you at the Hyde Park Art Center on Saturday.
- reBlog has a great chart/video of the most common letters and stylistics variations in graffiti.
- Just when it looked like the Children’s Museum could move to Grant Park the economy catches up with them.
- The 70’s intro for the Japanese Spiderman is awesome. Why didn’t the American one have a flying robot?
- The World’s Best Ever has a surprisingly interesting history of the pubic wig.
- I’ve never road a bike down a mountain, which might explain why I have never thought about the history of Mountain biking. Klunkerz: A Film About Mountain Bike History
- Proximity’s sister publication Pr now has it’s own site. Be sure to check out some of their online content.
- “…art is only for the artist but then if itâ€™s only for the artist why is it on exhibit at the Walker?” Probably the best review of an art museum ever written. (via eyeteeth)
- RT @wired Blind photographers use gadgets as visual prosthetics, and continue making art. This is what it’s all about.