The Brucennial Frieze New York Stanley WhitneyTeam Gallery Owen GrayBlue Mountain Gallery Jeff WallMarian Goodman IN RECENT MONTHS, people who are avidly engaged with contemporary art have been checking their pulses so often that I can only conclude they are worried about their vital signs, not to mention the health of the galleries, museums, auction houses, art fairs, and sundry publications that help to sustain them. These health checks have become global in nature, with frenzied reports arriving from galleries in Beijing, auctions in Hong Kong, an art fair in Abu Dhabi.
I thought I had made my peace with the death of originality. Personally, I do not believe that originality has died, but I recognize that the obituaries cannot exactly be ignored. I keep abreast of whatever is being said about the death-of-originality movement’s dead white males, Marcel Duchamp and Andy Warhol. And I try to see as much as I can of the work of practitioners who, paradoxically, are alive and kicking, beginning with Jeff Koons and Richard Prince.
Leo and His Circle: The Life of Leo Castelli By Annie Cohen-Solal (Alfred A. Knopf, 540 pp., $35) I. Annie Cohen-Solal’s new biography of Leo Castelli, the art dealer who will forever be associated with the meteoric rise of Jasper Johns and Robert Rauschenberg in the years around 1960, has set me to thinking about the interest that men and women who run galleries inspire among a fairly wide public.
I hate to spoil the fun of the connoisseurs of kitsch. But no matter how hard I try, the truth is that I rarely find that something is so bad that it’s good. Mostly I find, at least as far as art and literature are concerned, that what is really bad is really bad. I will, however, make a partial exception for the later work of Salvador Dalí, which is the subject of an exhibition that has just opened at the High Museum of Art in Atlanta. The stuff that Dalí did from the 1940s until his death in 1989 is god awful, but there is a sicko integrity about its awfulness.
Marina Abramovic: The Artist is Present Museum of Modern Art Skin Fruit New Museum William Kentridge: Five Themes Museum of Modern Art The social history of art in our time will not be easy to write. A daunting range of factors must be taken into account. There is now a large, heterogeneous public aware that art is big business, and it is eager to follow developments in the auction houses, the commercial galleries, and art fairs such as the Armory Show in New York and Art Basel Miami Beach.
Bernini and the Birth of Baroque Portrait Sculpture -- J. Paul Getty Museum Hearst The Collector -- Los Angeles County Museum of Art Dialogue Among Giants: Carleton Watkins and the Rise of Photography in California -- J. Paul Getty Museum Back when I was in college, there was a theory that the way to get a sense of how somebody felt deep inside was to ask whether they preferred Tolstoy or Dostoevsky. The friend who was drawn to the ecstatic optimism of certain moments in War and Peace was one kind of person, and the friend who was consumed by the darkness of Crime and Punishment was another.
'Giorgio Morandi, 1890-1964' -- Metropolitan Museum of Art 'Joan Miró: Painting and Anti-Painting 1927-1937' -- Museum of Modern Art 'Mary Heilmann: To Be Someone' -- New Museum 'Live Forever: Elizabeth Peyton' -- New Museum 'Douglas Blau' -- Institute of Contemporary Art I. What will be the impact of the financial crisis on artists, galleries, and auction houses?
You may know by now that I think Jeff Koons, whom the Metropolitan is now showing on its roof garden, is a creator of junk. Or, if you want me to be kind, a creator of, well, I can't do any better. Junk. It's just junk.Ken Johnson, an art critic at The New York Times, found more highfalutin words for the work, "three previously unexhibited sculptures by the Pop artist..." "Their setting aside, Mr.
I. THERE IS A PARADOX AT THE heart of any cultural institution. It is that the men and women who dedicate themselves to these essential enterprises exert a fiscal and administrative discipline that has nothing whatsoever to do with the discipline of art, which is a disciplined abandon. I imagine that for anybody who founds or sustains or rescues or re-invents a museum, an orchestra, or a dance company, this tension between the institution and the art comes to feel like a natural paradox. There is always a balancing act involved, which helps to explain why the very greatest institution-builder