“While cultural life in Kabul is constrained by growing insecurity and terrorist attacks—the US Embassy urges Americans to exercise ‘extreme caution if moving around the city'—a 20-strong group of Afghan artisans are preparing to travel to the US capital for a major exhibition opening in March."
Three highly contrasting views reflecting current debates and controversies in policy and practice
An article from the The Art Newspaper which looks at three authors and what they believe museums are for and the repercussions. I’ve made it perfectly clear what I think museum’s should be doing in the past (new followers might not know, if not grab a cup of tea and read these two posts - 12 - I wrote in response to an article in the Telegraph).
Anyone else have opposing views, additions or revolutionary new ideas for the role of the museum?
Jef Geys Kempens Informtieblad installation views at Cubitt and Institut d’art contemporain, Villeurbanne/Rhône-Alpes
“Since the 1960s, Geys has used the newspaper Kempens Informtieblad – once a local news organ but now fully owned and edited by Geys – to organise and disseminate information, analysis and documentation relating to his work and its socio-political context (one recent example is his Flemish translation of the interview with Julian Assange by Hans Ulrich Obrist). Geys has a longstanding interest in superimposing economies of meaning that run counter-intuitively to the pervasive structures of the art world. This process of superimposition can perhaps be best understood in Geys’ ongoing insistence that his own context of Balen be situated centrally not just in the material of his work but also in its distribution and reception via Kempens.”
Ed Kienholz’s Five Car Stud, 1969-72 on view at the Louisiana Museum of Modern Art in Denmark (until 21 October)
The Fondazione Prada has bought Ed Kienholz’s installation Five Car Stud, 1969-72, for its permanent collection in Milan. The lifesize tableau depicts a barbaric racist attack in which five white men pin down and castrate a black man.
The acquisition marks the culmination of recent efforts to rehabilitate Five Car Stud, which had been in storage in Japan for almost 40 years. The work was first shown at Documenta 5 in 1972, and was then exhibited in Berlin and Düsseldorf before being acquired by a Japanese collector, who never displayed it.
Around seven years ago, LA Louver (2.0/D12) and the Pace Gallery (2.0/B20) formed a partnership with Nancy Reddin Kienholz, the artist’s collaborator and widow, to represent Japan’s Kawamura Memorial DIC Museum of Art, which then owned the work. It was shown in the US for the first time last October, at the Los Angeles County Museum of Art, and is now on display at the Louisiana Museum of Modern Art in Denmark (until 21 October).
Miuccia Prada says she is “glad to confirm the acquisition”, although she would not elaborate on plans for its installation.
“The timing could not be more poignant. This feels like the realisation of Ed’s vision,” says Lisa Jann, the managing director of LA Louver, which represents Kienholz and is showing The Potlatch, 1988, a collaboration with Reddin Kienholz, priced at $1.2m. “The foundation made a commitment before the exhibitions, and we’re thrilled. It will provide a contemporary context for the work, which is as relevant today as it was in 1972.”
I found it pretty interesting how Georgina Adam claims in her article “Private Sales Art Market Analysis” from The Art Newspaper that, “today’s buyers aren’t necessarily very sophisticated, and particularly in the modern art field, many like nice, shiny cleaned-up paintings.” It is blunt and relevant facts such as this that will help to define my market, since the wants of the current art-appreciating generation are what will ultimately make or break my art exhibition. Additionally, this shows that with money does not necessarily comes sophistication in the arts— a.k.a. a nouveau riche mentality, perhaps. I also find it interesting that sales personnel at the Gagosian, as I discovered today, are not obligated to meet a certain quota— while I believe the sales team is sincere in their industrious attitude and love for art, this approach raises questions for me. Clearly, I am not the expert when it comes to art sales since I am new to the field, but I wonder how the owner of the gallery determines whether to fire someone based on “low” sales in comparison to the rest of the team. Today I thought some more on how I could link and curate the themes of food and art in my exhibition; while I have several ideas spinning through my head, I know it will be necessary to get further inspiration from visiting more galleries this weekend, hopefully even the Alexander McQueen exhibition at the MET. Going to the Kate Moss exhibition at the Danziger Collections Gallery after class today put me in the right frame of mind for thinking out of the box.
NOW—RICHARD SERRA to receive the French government’s highest honor
June 2, 2015
Richard Serra, who has a history of being fêted by the French, accepted the insignia of Chevalier of the French Legion of Honour at the French Embassy on June 1st. Charlotte Burns wrote about the sculptor and this high honor for The Art Newspaper.
The American artist Richard Serra is set to be awarded France’s premier award, les Insignes de Chevalier de l’Ordre national de la Légion d’honneur (insignia of Chevalier of the French Legion of Honour) at a ceremony at the French Embassy in New York on 1 June. “This is truly an unexpected award and I am very honored,” Serra says.
“In the long legacy of French artistic history, Richard Serra’s contributions are undeniable. His style has impacted all of our artists, art historians and theoreticians,” says Gérard Araud, the French ambassador to the US, who will present the award.
“Experts, fearful of costly lawsuits, are shying away from taking a public stance on what is, or is not, a legitimate work… Ultimately, the best way to protect the art market—and address the issue of regulation—is to safeguard scholarship.”
When the client sends an attachment and says “please use the new logo on the ad” but the attachment is a poorly lit, low res cell phone photo of the logo on the side of a company truck taken from about 10 feet away