Last June, at a dinner following a talk between Matthew Barney and Tina Brown at Kunstmuseum Basel, during that city’s annual art fair, Alexandra Chemla found herself seated with several fellow graduates of her alma mater Brown University.
“My rugby team at Harvard used to go down to the Brown campus to meet girls,” said Marc Glimcher, the president of Pace Gallery, one of the few members of the table who did not matriculate at Providence (the Observer was another). “I could sell my whole booth and it wouldn’t be as good as winning a rugby game.”
As small talk ensued, conversation centered on ArtBinder, Ms. Chemla’s startup that she founded as a 24-year-old gallery assistant at Gavin Brown’s Enterprise, after years of slaving over massive physical binders full of printouts of art.
After a decade and a half at the Guggenheim, Betsy Ennis is leaving her position as its director of media and public relations, she announced this morning in an e-mail obtained by Gallerist.
TUESDAY, JULY 15
Screening: Gilbert & George at Lehmann Maupin
As part of its current Gilbert and George film and video survey, Lehmann Maupin will host a screening of The World of Gilbert and George and Gilbert & George: The Singing Sculpture. Double trouble! (In more ways than one.) —Andrew Russeth
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.
In mid-April, Pace Gallery will open a temporary branch in Menlo Park, Calif., in the former Tesla Motors headquarters there. Notable for its Silicon Valley wealth, Menlo Park, a town bordered by Palo Alto and Stanford, was deemed by CNN two years ago to be one of the “best places for the rich and single.”
The invitation was cryptic, asking only that guests RSVP and consent to be filmed, but it was obvious, walking into Pace’s easternmost gallery on West 25th Street on Wednesday afternoon, that everyone knew what they were getting into: a music video shoot for Jay-Z’s art-reference-heavy “Picasso Baby,” the second track off his new album Magna Carta…Holy Grail. (His art advisor, Jeanne Greenberg-Rohatyn, got the location through Pace’s Andrea Glimcher.)
Look at This!
The first broadcast of CNN was on June 1, 1980—a little over a year after Brian Lamb and John D. Evans started the Cable-Satellite Public Affairs Network—and it began with David Walker and his co-anchor (and wife) Lois Hart. It was a pretty slow news day. The lead story was President Jimmy Carter’s trip to Fort Wayne, Ind., for a “brief visit” with civil rights leader Vernon Jordan, who was hospitalized with a gunshot wound. They also covered the launch of the CNN network, replaying footage from a press conference given by Ted Turner. He thanked the cable industry, “whose pioneering spirit caused this great step forward in communication.” From then on, America would be inundated by a constant flow of information, all presented by a stern, brow-furrowed newscaster as breaking and important.
It was then, during the rise of the 24-hour news cycle, that the husband-and-wife artist duo Edward and Nancy Reddin Kienholz—known collectively as Kienholz—created The Ozymandias Parade, which is currently making a rare appearance in New York at the Pace Gallery on West 25th Street. The exhibition was supposed to coincide with the week leading up to the election, but Hurricane Sandy set it back, and it didn’t open until the day after President Obama’s re-election, another event that fed copy to the cable news programs.
Back in the early 1970s Robert Irwin built what he called “the third-largest optical instrument in the world,” a 33-foot-tall column of clear acrylic that was to be barely perceptible to the eye when it was properly installed and polished. Unfortunately, that never actually happened. The collector who commissioned it died before it was finished, and a subsequent installation—in a mall—was handled rather clumsily. It eventually went into storage. (The Los Angeles Times told that story back in 1993.)
On a gray morning early last week, the artist Robert Irwin sat at one end of the cavernous Pace gallery in Chelsea and gazed out at his latest exhibition. The only things in it are three thin, 16-foot-tall transparent acrylic columns that, under certain lighting conditions, disappear. The opening reception was set for the following evening, and he was trying to figure out how the room would look when it was dark out. Every few minutes, his iPhone rang—a Pace employee on the roof, blacking out skylights.
“These things sit on a delicate edge,” Mr. Irwin said. “When it was bright in here, it was pretty yellow, and they get blown out. These things hardly existed at all. Is that good, or is it bad?” Pause. “I don’t know.” He sounded intrigued, rather than worried.
The Pace Gallery confirmed today that it has secured a two-floor, 9,000-square-foot space in London at the Royal Academy’s 6 Burlington Gardens building, ending years of speculation about its plans in the capital city, which is becoming an increasingly crowded art hub. Architect Sir David Chipperfield, who is handling a major renovation of the entire Academy that is set to be completed by 2018, will design the space. The new Pace branch will open in October, right before the Frieze Art Fair, with a two-person show of painter Mark Rothko and photographer Hiroshi Sugimoto.