The high-end art world is a complicated place. It's amazing how two pieces by the same artist can end up in such dichotomous homes. This week's stories draw us into contrasting worlds, assuring that you'll have an interesting topic of discussion ready for Saturday's dinner party.
Genesis Breyer P-Orridge of Psychic TV and Throbbing Gristle has been an influence on me for decades. I first heard "Lady Maybe" emanating out of a painting studio in the mid 1990's. I've been following his ideas ever since.
As I walked up the familiar steps and entrance everything seemed as it had been during my time as a student. The inside, however, was quite different and the courtyard was bathed in light, still surrounded by some familiar artwork.
When the public reads stories in the media about visual artists, it is all too often about art stars that are selling their works for six-figure sums or an item detailing glamorous parties on the art fair circuit.
Tom Slaughter passed away on October 25th. He was a gifted artist, whose work was immediate, fun, simple, and unmistakably his own. Tom lived his life "in the brilliant light of imagined skies, where the time is always high noon or midnight."
What's the difference between staring up at a sky full of stars as you fall asleep, looking through a telescope with an informative astronomer, pointing your smart phone at the sky, and just glancing up with a wearable digital device?
There is an explosion of creative activity on the ground (or in the cloud) and it is in these places that artists have an abundance of power and these digital endeavors are playing out in many conversations in art publications and institutions.
When I first walked into Starting Out: 9 Abstract Painters 1958-1971, I didn't immediately remember that the pristine space on Fifth Avenue was the site of an raucous opening I had attended decades ago for a 40th Anniversary Exhibition -- where Larry Rivers was present.
Practicing yoga creates tapas, heat. Heat is a catalyst for change. You throw everything you are and have been into the fire of your practice, and when the ashes settle, the smart thing to do is to move forward, mindful of where you've been and open to what might be.
Using a classical, layered technique adapted to his adept pencil work, Venti builds layers of color and form in one portion of the work, then covers that in an archival, museum-acceptable spray coating.
He said, "Do you know the artist ? He's actually deceased. He was young." As soon as I saw the name on the wall, Ján Mančuška , I had this sudden and sad recollection. I had neglected to tell Mančuška that his work really made an impression on me several years back when we were in a show together.
Like conservatives who write pleasant histories that ignore segregation and child labor, Deitch-bashers speak of the good old days at MOCA that were more insider and downright icky than most anything old Mitt Romney could be hiding.