You can imagine the English artist David Shrigley sitting in a dull lecture class drawing an obscene caricature of the instructor in his notebook. The drawing would be fascinatingly awkward—he uses ink like paint, with a confident line too purposeful to be bothered with exactitude—and it would be insightful, hilarious and vicious in direct proportion to his certainty that the instructor would never see it, or if he did, wouldn’t get the joke. A neon sign of red block letters, hanging in the gallery office advertising “HOT DOG REPAIR,” is one of only two pieces in “Signs” that are not, in one way or another, in Mr. Shrigley’s handwriting. Letters are cast in bronze from molded clay or sprayed insulation foam, painted in white or black on hanging signs and cat-shaped canvas dolls, or printed in lino-cut, letterset word art. The sculptures do certainly function as sculptures, in the sense that they don’t not, but really all the work, neon signs included, inhabits the hypothetical white flatland, with its total irony, material impotence and solipsistic invulnerability, of paper being doodled on.
Artist David Shrigley will design this year’s special edition ski lift ticket presented by the Aspen Art Museum and the Aspen Skiing Company. Last year’s artist was Mark Grotjahn. Mr. Shrigley has created a series of six designs that all incorporate a kind of sarcastic optimism. There’s a look at three of them to Read More
Week in Pictures
At the moment, the New York art world is in the eye of the art-market storm, squarely in between March’s Armory Week and May’s Frieze Week. But this is hardly a time to relax. The weather is good–increasingly sunny, increasingly warm. It is a time for strolling neighborhoods and savoring the High Line. And, as Read More
MONDAY, APRIL 2
Screening and Talk: Douglas Crimp on the Films of Andy Warhol at the Kitchen
In the mid 1960s, Warhol declared he was quitting painting to make films. He threw himself into the endeavor, creating more than 100 over the next few years (not counting his hundreds of Screen Tests), though he withdrew them from circulation in the early 1970s. Art historian Douglas Crimp has spent years examining that body of work and will read excerpts from his new book on the subject, Our Kind of Movie, between selections from the films. –Andrew Russeth
The Kitchen, 512 West 19th Street, New York, 7 p.m.
Ian Jack wonders if it is a problem that David Hockney’s blossoms look like “evil yellow slugs.” [Guardian UK]
Georgina Adam on the ongoing controversy involving a Rauschenberg, a stuffed eagle and the IRS. [Financial Times]
David Shrigley has a new billboard coming to the High Line, at 10th Avenue and 18th Street, April 5—his deadpan brand of twee existential insecurity writ large, super large. [Paper Magazine]