Earlier today, man-about-town Bill Powers of Half Gallery tweeted an email he received from artist Richard Prince with the subject header, “U watch 60 min episode on art?” In the body of the email, Mr. Prince wrote, “no, but my mother did…” Though we’re sure Mr. Prince loves his mother, his email seems like a dig at Mr. Safer for being out of touch.
Richard Prince has started a little online journal on his website, sharing his book recommendations and commentary from a visit to the 2012 Whitney Biennial: “There seems to be a room filled with an aritst’s junk in every biennial I’ve ever been to.” [RichardPrince.com via Anaba]
Zhang Xiaogang’s Bloodline: Big Family No. 2 sells for $6.7 million at Sotheby’s contemporary Chinese art sale in Hong Kong. [WSJ]
Titian’s Flight Into Egypt leaves Russia for the first time in 240 years. [Guardian]
Over at Vice, the writer and curator Bob Nickas has a new column called Komplaint Dept., where he’s been taking on artists like Christian Marclay and, most recently, Richard Prince.
The next book from the Karma bookstore‘s in-house imprint will be a novella by dealer and art world personality Bill Powers, Gallerist has learned. The artist Richard Prince has provided cover art for the book, titled What We Lose in Flowers…, which incorporates DVD labels, a convention seen at his recent show at Read More
On Wednesday photo licensing services Getty Images and Corbis filed a “friend-of-the-court” brief in support of photographer Patrick Cariou’s copyright infringement lawsuit against the artist Richard Prince, whose “Canal Zone” paintings incorporate Mr. Cariou’s photographs of Rastafarians.
The legal war between Richard Prince and Patrick Cariou, the photographer whose photos Mr. Prince used to create most of the paintings in his 2008 “Canal Zone” series is raging on, and a few hints of the operation of the Gagosian empire are coming to light in new court filings, as Artnet has noted.
Matthew Marks discusses his new Los Angeles gallery. Brice Marden has never had a one-person show in the city, he tells reporter Kelly Crow. Have collectors there been deprived, she asks? “Yes, but my artists are more interested in showing their work to other artists,” replies Mr. Marks. “That is the audience they care most about.” [WSJ]
Aldon James of the National Arts Club skipped an eviction hearing. [DNAInfo]
Heritage Auctions has hired Brian Roughton, founder and president of the Dallas–based Roughton Galleries, as its director of American and European paintings. Mr. Roughton had previously been working as a consultant for the firm. His 38-year-old gallery will continue to operate. [Heritage]
It’s a busy time for art openings here in New York at the moment, and press releases are flooding mailboxes, but Nyehaus’s announcement for its upcoming Mike Kelley and Richard Prince show, “Hoodwinked,” easily breaks through the crowded field to take “Press Release of the Week” honors.
James Rizzi, a Brooklyn-born artist known for whimsical, cartoon-like work, died at the age of 61 while sleeping in his SoHo studio. Notes Kerry Wills of the New York Daily News, “His playful pastel images adorned everything from Volkswagen cars to Rosenthal china, Lufthansa jets and German postage stamps.” [NYDN]
Artist Daniel Arsham discusses creating sets for the Merce Cunningham Dance Company, which will disband after three final shows at the Park Avenue Armory tomorrow, Friday and Saturday. Mr. Arsham, who began working with the group in 2007, said: “It’s a momentous occasion, and it freaks me out a little bit… Merce meant a lot to me personally in giving me this opportunity, which was, frankly, insane to give a 25-year-old.” [NYT]
Quality restaurant art is nothing new, especially in New York. When it opened in the late ’50s, the Four Seasons Restaurant, in the iconic Seagrams Building, had art by Picasso, Miró and Jackson Pollock on the walls. (The dining room was meant to get a series by Mark Rothko, but he pulled out of the project, and the paintings now hang in three museums.) The food/art nexus may have culminated with the freewheeling 1970s, when Gordon Matta-Clark had his restaurant, Food, in Soho—compared with that, most restaurant offerings seem pretty staid. These days, you can go to Casa Lever, in the architecturally groovy Lever House, and gaze at myriad Warhol prints of celebrities—Hitchcock, Sly Stallone—while you’re eating your $52 “Costata” T-bone steak. And if you’re looking for something a bit more classical, there’s always Maxfield Parrish’s monumental mural, Old King Cole, which hangs elegantly above the bar in the St. Regis Hotel. But a new joint set to open by the end of the year is bringing New York restaurant art to a whole new level of downtown hipness.