The last decade has been a veritable roller-coaster ride for the Renaissance artist and inventor Leonardo da Vinci, whose ever-popular name and work have landed him on countless oddball spin-off products and projects, from the ubiquitous Dan Brown novel to the new Starz action series "Da Vinci's Demons." Now, the latest Leonardo-branded whatsit is an actual roller coaster.
Few museum exhibitions are ever visited by 4,000 people in one day, let alone a gallery show, and yet that has been a recurring attendance figure on Saturdays at Gagosian's 24th Street megaplex since its mini-retrospective devoted to Jean-Michel Basquiat opened on February 7 -- an opening that brought out thousands, who dutifully lined up down the block.
An hour from bustling Vienna, Erwin Wurm's home and studio sit in the scenic Austrian countryside, behind a locked gate and down a gravel path lined with young elms that give way to topiaries trimmed into perfect cubes. Only when one peers out from the allée does it become apparent that this is no ordinary schloss. On one side of the lawn stands a headless figure in a pastel-pink suit. Opposite him, a giant pickle perches on a pedestal.
Over the last two years, the art world has been engrossed with photographer Patrick Cariou's copyright infringement case against appropriation art superstar Richard Prince, hearalded as promising a defining legal judgement on copyright and fair use in visual art. This week, according to the Hollywood Reporter, U.S. District Court judge Dolly Gee has issued a ruling on another appropriation art case, Morris v. Young, which is eerily similar to the hotly debated Prince v. Cariou.