MONDAY, JULY 28
Party: Hosted By at SculptureCenter
Make the trek put to Long Island City for SculptureCenter’s summer soiree, Hosted By, held on the new spacious patio area. It’s also your last chance to see the three shows on view: Katrín Sigurdardóttir: Foundation; Liz Glynn: RANSOM ROOM; and Now Showing: Jory Rabinovitz.
SculptureCenter, 44-19 Purves Street, Long Read More
An hour into the Kitchen Gala honoring Robert Longo, Monica Lewinsky walked upstairs to the center portico of Cipriani Wall Street and approached the bar. One by one, those among the annual event’s usual smattering of curators and dealers did double takes as they walked by. It was inevitable that, after breaking a decade-long silence with a tell-all in Vanity Fair this month, Ms. Lewinsky would start to show up to parties and schmooze.
Kenny Schachter is a London-based art dealer, curator and writer. His writing has appeared in books on architect Zaha Hadid and artists Vito Acconci and Paul Thek, and he is a contributor to the British edition of GQ. The opinions expressed here are his own.
The current resale market for contemporary art has the attention span of a teenager. To switch metaphors, it’s a nuclear hot potato. How many of today’s 25 hottest will be tomorrow’s stone coldest? It’s always in the back of my mind that the pretty young painting things of today can suddenly become progeroid, stricken by a premature aging ailment in their early market lifespans.
On Saturday morning, at the Robert Rauschenberg Foundation on Lafayette Street, renowned art writer Calvin Tomkins celebrated the re-release of his book The Bride and the Bachelors, which is back in print, this time by Gagosian Gallery. Mr. Tomkins’s art world peers Marian Goodman, Thelma Golden, Cecilia Alemani, Will Cotton, Adam McEwen, Dustin Yellin and many others sang the author’s praises.
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.