The Brooklyn Museum is posting Keith Haring’s journals online, one page per day, for the duration of the exhibition “Keith Haring: 1978-1982.” While the exhibition spans four years of Haring’s life just prior to his becoming a celebrated artist, his journals go even further back, all the way to 1971, when the artist was 12 years old. While you can see some of these journals in person at the exhibition, some of which have been published in book form (Keith Haring Journals (2010)), viewing them online is, surprisingly, a lot more personal.
CBS has been kind enough to upload the the segment of 60 Minutes that Morley Safer shot about the contemporary art world back in 1993. Given how infamous the segment is, it’s amazing how low-key and almost silly many of his criticisms seem today. He becomes exasperated about a blank canvas by Robert Ryman, a text painting by Christopher Wool (Rat, Rat, Rat) and a bunch of sculptures by Jeff Koons.
The Public Art Fund announced today its summer exhibitions, which will include a group show, “Common Ground,” in City Hall Park with a 30-foot-tall inflatable sculpture of a ketchup bottle by Paul McCarthy, impromptu gatherings of singing choir boys and a bullhorn that will be activated once daily with a positive message. In parks elsewhere around the city, as Carol Vogel of The New York Times reported, Paola Pivi and Oscar Tuazon will create site-specific works.
On his 1977 album Fifteen Saxophones Dickie Landry uses tape delays and overdubs to pile saxes and flutes on top of one another. It sounds like a whole scrum of musicians is involved, but it’s played by a single man.
Performing in the center of the Guggenheim’s rotunda on Monday night, Mr. Landry was once again by himself, and though he didn’t quite conjure a whole gang of musicians with his tenor, there were moments when it seemed like two, maybe three, saxes were at work. His long, flowing scales bounced from the ceiling overhead back down to the floor as he blew, almost uninterrupted–except for a quick breath here and there–for about an hour.
In a profile of Sheikha Mayassa Al Thani, the daughter of the emir of Qatar, The Economist has declared the 29-year-old “the art world’s most powerful woman.”
It’s a big day for television in the contemporary art world.
Morley Safer is prepping a 60 Minutes episode about art, which will air this weekend. And now The New York Times reports that MoMA PS1 and Creative Time are working with MTV to resurrect “Art Breaks,” the bite-size video art nuggets that used to air during commercial breaks on the cable network.
art and shopping
At the opening of the flagship store of Canadian retailer Joe Fresh on Fifth Avenue, hosted by Public Art Fund, I saw: five angular men making strong screwdrivers; dozens of women in orange dresses that went down just above the knees and puffed out at the bottom carrying trays with orange macarons and shrimp and Read More
The last time that journalist Morley Safer filmed a segment for the CBS newsmagazine 60 Minutes about the contemporary art world, back in 1993, Marc Glimcher, president of the Pace Gallery, declared that it “stank of anti-intellectualism.” Mr. Safer had quipped that much of today’s art was “worthless junk,” among other bon mots. It was quite a takedown.
Now Mr. Safer is returning for a sequel on 60 Minutes, which will air on Sunday. Yes, on April Fools’ Day.
A lesson plan based on the Keith Haring exhibition at the Brooklyn Museum aims to get kids thinking about the economy, punk and hip-hop and HIV/AIDS. [NYT]
In a new video, artist David Shrigley, known for his twee existential animations and cartoons, talks about being a “verified” artist, accepted by the art establishment and the other kind of art he makes. [The Art Newspaper]
Celebrating Robert Wilson’s birthday. [ARTnews]
At 8:20 p.m. last night, artist Maurizio Cattelan was standing in line for a rum drink by the make-shift bar at Anna Kustera Gallery in Chelsea to which his own tiny storefront gallery, Family Business, is annexed. There was a pile of magazines next to him with bright blue covers, as it was the Vice magazine issue release party for the Holy Trinity Issue and Mr. Cattelan had designed the front cover, which features a picture of three objects—a stapler, a red plunger and a dildo, the last of which was covered with a black sticker that had the word “dildo” printed on it. We made to say hello to the skinny Italian artist as he left the bar, but the artist, who was wearing a dark sport jacket, black skinny jeans and modish white leather sneakers, was intercepted by a tall blonde woman. Around him in the small bright space, was a group exhibition mostly of photographic work. The crowd was dressed casually and seemed barely out of college.