‘I Don’t Want to Talk About Where the Rastas Came From’: Richard Prince’s ‘Canal Zone’ Press Release Is Spot-On

(Courtesy Gagosian)

Early next month Gagosian will once again show Richard Prince’s “Canal Zone” paintings. The show marks a victory lap for the artist and the gallery, which have spent the years since the works’ 2008 debut defending them in a copyright lawsuit from photographer Patrick Cariou, whose ethnographic photography served as an element in some of these collage pieces. Read More


Bringing James Lee Byars Back to Detroit: Triple Candie Interviews Triple Candie About Their Latest Project

Detail of 'James Lee Byars: I Cancel All My Works at Death.' (Courtesy Triple Candie)

It’s hard to know where to begin with Triple Candie. There are too many good stories, and a lot of them are pretty complex. Best to keep it short. Shelly Bancroft and Peter Nesbett founded it in 2001 as a gallery on West 126th Street in Harlem. For a few years they did all sorts of unusual art shows. (Their website has an archive.) Around the middle of the decade, things got really weird: the shows continued, but without art. They organized “David Hammons: The Unauthorized Retrospective” (comprised of photocopies), “Cady Noland Approximately: Sculpture and Editions, 1984–2000″ (exactly what it sounds like) and a survey of Lester Hayes, an artist who does not exist. In 2009, they moved to West 148th, and then in 2010 they closed, decamping for Philadelphia. Though they no longer have a space, they have continued to organize shows at various venues. Their latest, “James Lee Byars: I Cancel All My Works At Death,” is at the Museum of Contemporary Art Detroit through May 4. It’s marketed as “the first comprehensive survey of the plays, actions, and performances of James Lee Byars,” and includes no work by the enigmatic artist, who was born in Detroit in 1932 and died in Cairo in 1997. Read More


Changing Places: A Veteran of MoMA, the NEA and the Department of Cultural Affairs Is Using Art as a Tool for Social Transformation

Jamie Bennett. (Photo by Celeste Sloman for The New York Observer)

In spring 1996, Jamie Bennett was assigned to escort Kitty Carlisle Hart into the Museum of Modern Art’s Party in the Garden. She took his arm, and they were making their way to her table when Times society photographer Bill Cunningham leaped into their path. Mr. Bennett instinctively flashed his brightest smile and spent the rest of the week telling his friends to look for it in the Style section.

“That Sunday,” he recalled in a recent interview, “I got up extra early, picked up my coffee and bagel at Bagels on the Square and ran to the bodega on the corner of Bleecker and Morton.” When he opened the paper to show it to the woman behind the register, the shot was prominently displayed, but Mr. Bennett had been cropped out—all but his left elbow. Read More


Morning Links: Gonzo Edition

(Courtesy Ralph Steadman/Sony Classics)

Glenn Lowry, in a profile, says he’ll leave MoMA in six years. [NYT]

One of the art dealers allegedly at the center of the Knoedler forgery scandal, Jose Carlos Bergantiños Diaz, has been arrested in Spain. [NYT]

Annie Leibovitz on Miley Cyrus and her new book, which costs $2,500 and “comes with its own table.”[Los Angeles Times] Read More

Art Basel 2014

Biesenbach, Obrist Seek Naked Women, Male War Veterans, Identical Twins, Dancers, for Basel Show

Obrist and Biesenbach. (Courtesy PMC)

If you live near Basel, Switzerland, or don’t mind spending an extended period there during Art Basel, participating in an artwork, Klaus Biesenbach and Hans Ulrich Obrist want to hear from you, according to the fair’s site. As you may have heard, the gentlemen are organizing a show called “14 Rooms” there in June, and it’s shaping up to be a fairly performance-heavy (or at least people-heavy) affair. They need bodies. Read More


Chuck Close Talks George W. Bush and Ai Weiwei Has a Hard Time Saying ‘No’: At the Brooklyn Artists Ball

Guests Enjoying Candy Installation by Flour Shop (c) Elena Olivo

The gala circuit, as it gathers steam in early spring, can make one feel somewhat cynical. The succession of grandiose speeches, anemic benefit auctions and bags of cutesy swag induce a mild malaise. “This one feels upbeat,” said artist Jenny Holzer, one of the honorees at the annual Brooklyn Artists Ball on Wednesday, as she surveyed the room. It was true, the mood at the museum that night was buoyant. Perhaps it was the relief that the April snow the night before didn’t stick around, but people seemed to be enjoying themselves. As always, some women took the word “ball” and ran with it: sweeping floor-length gowns in Easter egg hues abounded. Read More