Which art-world bigwig owns “a lot of drawings” by John Currin? Which Christie’s director would own Rothkos if she could afford them? And which reporter reveals, “at dinner tonight, I’m sitting next to Richard Serra”?
We won’t divulge all of the details from this Architectural Digest piece, assembled from interviews at a variety of recent art events, but suffice it to say that Ellsworth Kelly, Barbara Walters, Chuck Close, Martha Stewart, January Jones and David Rockefeller, Jr., among others, gave some interesting answers when asked by the magazine to name their fantasy art wish lists.
ARTnews explores the complicated issues surrounding copyright laws involving artwork that appropriates—or, reworks, samples, quotes, borrows, remixes, transforms, and/or adapts—in the digital age. [ARTnews]
An exhibition explores how Edouard Vuillard, Pierre Bonnard and other Parisian painters used photographs in their work. [Los Angeles Times]
The Akron Art Museum in Ohio will auction off a work from its collection, Cindy Sherman’s Untitled #96 (1981), part of the artist’s iconic centerfolds series from the 1980s, at Christie’s contemporary New York evening sale on May 8. Christie’s is already saying the work could set a new record for a work by Ms. Sherman sold at auction.
I will never cease to be amazed by how much consensus I find among New York’s leading art critics as they all hail and salute the same things, or for that matter, as they all gang up and bash the same things, as they did with Maurizio Cattelan’s recent Guggenheim retrospective.
The unanimity bothers me; I wish someone would offer some counterpoint to the prevailing view, bring some fresh air into the dialogue. What’s the point of everyone saying the same thing? Do they really all like the same things or are they afraid to step out and say something different, even provocative? If I were an artist, I think I’d get suspicious if everyone in town chimed in about how wonderful I was.
Cindy Sherman has one of the great acting faces of our time: blank and seemingly lineless, even as she approaches 60, it looks made to be defined by makeup and bought to life in roles. One can easily imagine passing her on the street and not recognizing her, although she is one of America’s most famous artists. The patron saint of the self-portrait, the guru of high/low, the feminist master, Ms. Sherman is now being given her due in a Museum of Modern Art retrospective. Organized by Eva Respini with Lucy Gallun, it traces the evolution of her influential career through 171 photographs from early efforts in the mid-’70s right up to the present.
Cindy Sherman, ‘Murder Mystery’ (detail), 1976. (Courtesy the artist and Metro Pictures)
Contrary to widespread belief, Cindy Sherman’s Untitled Film Stills (1977-80) are not her earliest works. Between 1975 and 1977, while Ms. Sherman was still a student at the State University of New York at Buffalo, she created a series of black-and-white photographs in which she played characters in a murder mystery. She then cut out the characters and reassembled them in meticulous tableaux. Metro Pictures is exhibiting these unique assemblages at its booth at the ADAA Art Show, which runs through Sunday at the Park Avenue Armory.
The Art Show, which opens Wednesday at the Park Avenue Armory, is the longest-running art fair in the nation. In its 24th year, the fair, which is organized by the Art Dealers Association of America (ADAA), presents both contemporary work from artists like Yoshitomo Nara as well as works from the 19th and 20th centuries, such as paintings by Otto Dix.
There was a large marquee above a storefront on Bleecker with huge red letters that spelled out BRUCENNIAL. The Bruce High Quality Foundation, the secretive artist collective that refuses to be photographed, will only do interviews over e-mail and runs a free art school called Bruce High Quality Foundation University, held the opening for its fourth Brucennial show last night, a massive group show that coincides with the Whitney Biennial. The similarities, however, pretty much stop there. BHQF, along with some of their friends, crammed work by some 400 artists inside a storefront space on Bleecker. There were canvases by students that had never shown their work before hanging next to Damien Hirst and Cindy Sherman. The work was on display floor to ceiling (and they were high ceilings), but to call this “salon style” is a bit too formal: it was more like a truly fantastic garage sale. The line to get inside stretched the length of Bleecker, snaked over to Washington Square Park and left people feeling a little irritable as they stood in the street in the drizzling rain.
“It’s harder to get into than the actual Whitney Biennial,” one restless hopeful attendee said somewhere around Sullivan Street, blocks away from the entrance.
Though Andy Warhol was notoriously private, a new exhibition at the New York gallery Affirmation Arts, “Warhol: Confections & Confessions,” shows 53 images from the Andy Warhol Museum in Pittsburgh, none of which has ever left Pittsburgh. Eight of the pictures, one of which shows Andy Warhol skating, have never before been exhibited. [WSJ]
If you happen to pick up a catalogue for Cindy Sherman’s retrospective at MoMA, be sure to check out the interview with director John Waters on page 68. As Ms. Sherman is a sartorial chameleon and Mr. Waters a king of kitsch, it was maybe inevitable that they would land on the topic of thrift stores, and Ms. Sherman reveals that, like most people, she’s had trouble finding anything good in New York’s second-hand shops.