Does religion exist at all in today's art world? Yes, but most often as documentary or anthropological art about religion. It's also been said that contemporary art viewing experiences are similar to traditional religious experiences.
On Thursday, February 27, 2014, Gagosian Gallery, Beverly Hills, held a pre-Oscar exhibition of Taryn Simon's Birds of the West Indies (2013-14). I was only able to capture the first hour of the largely-packed opening.
It is not always possible nor necessary to think of Rio de Janeiro beyond what some called "a flat-Earth vision of carnivals and caipirinhas." With important events taking place in the Cidade Maravilhosa -- the Marvelous City -- however, it is worthwhile to have a closer look.
For the better half of a year the sheep at the Yorkshire Sculpture Park have been without their favorite Henry Moore sculpture, Large Two Forms. The mastodon-sized bronze had made a six million dollar windbreak and some shade for the animals.
In Chelsea, Jeff Bailey Gallery had a great Johannes De Young video that featured a creepy claymation talking head spouting self help affirmations in a English-accented, computer voice. Surrounded by waxy, green plant leaves, he repeats phrases like "I can control my thoughts."
There was a semi-big win for appropriation art, not to mention appropriation artist Richard Prince and New York's Gagosian Gallery. The U.S. Court of Appeals overturned a lower court ruling that found Prince had violated the copyright of French photographer Patrick Cariou.
I was grinding pencil lead and burning paper as I furiously wrote down her confession. The perp was speaking softly, her voice dulled with regret. An art world mystery of half a century has been solved and I have the confession!
It was 1950 when Helen Frankenthaler came back to New York after graduating from Bennington College. Frankenthaler set up a studio on East Twenty-First Street and wasted no time in stirring up the art world.
Money, fame and drugs never dimmed the visions of racial injustice and historical abuses of power that both haunted Jean-Michel Basquiat and fueled his imagination. Jean's sustained adolescent rage became the engine of his bracingly original art.