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FEBRUARY

Fea'tures
Th~ N.rJdj~t" Mus@um", 2010 (deto iII;'_ o iii 0 rn gesso boo rd.
len Horve¥

Comment
4.. 4

In,troducin ...
Naeem Mohcnerner
Ex,ploling the history
of the, lodica]Le1t
by MurtazCl 'Vall

52 n the c;:'ag::J .
~ Undiscovered
)lmenndj,CUlS ..

by Coco Fusco

210years later

58 Chorline von H'8 yl
1

,,ece:nt worK

,an,a: ct 'Q~A

Lll
-J

·:0··0'· k··· l'i, A review of Sigmar
~.~ .. : .. ~

no'-·J'JIJ'~" s:.._,lli..Q", ,

'T'.iIIT6

V1VG

'n~.tty'D;"';11~~n;,if'" .. r'~ ',,' .DtJ~,~IO'V~-;I·

by Wilham Hanley

An, abstract ort ot printer' _.F.I~~~".,."JII d ·101 " cormoqes ond lP'h tccopies

by ,Roger Malbert

73 Re,vlews.
u

in New Yorkf David
.

" . I'm P -ens ·s\...·· ~ Le'\nl)8< L1Je.n~b, JR-' -"_ ~~
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Hcckney's iPad drcrwmgs~ and more
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On brin:gin'9 ort directly

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88 (fiIst Look

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Danlny' Chl1isteinsen

'WillliamllHlalnley

Roger Mallberl

After discovering his. ]'OV0 for the visual rea lm ~hrough ad vertising work, Chriatensen-c-who photographed Coco Fus co for 'her fe ~ture 0' - pa ge 52-end,ed up in, New
York,
\-Vb~F@

Vasilakis began her worki 110g life hand- taming pa rrots and has 'brought tha t sarne sensitivity to her interaction s ever since, F:Of' this is S UB ~
she shot the .artist N,8!f i Ward for our Studio ,C heck, feature, on
~ .... .~ age o~.\, V asuakis, ~.
]I~;
II~jI. ,"

,A,Bro oklyn-based
j ournalist and critic,

Hanley is an, editor at

Architect:ura,l Record. and
has previously been on staff at ARTne'w'8~
"'~I At"' J t: mzome, ann .l~~rrnil.O,.OGJl1Jl. Rh" He di seovere d the V\10rk

he focu 8 e s
l'

The senior cura tor for Hayward 'TOllring" exhibitions at the Hayward iG'aii'el"Y~n i London, M,a]belli"t has written for the Art Newspaper:, At"'t MonthJy,and the Tilne-s' Li tera ry
'0' l ouppe,~n,ent. H= JlS L_0 .'

A New 'York~b.asl~d
interdli sciplinary arti st Fusco is also ,(1 writer and an, associate professor at
j

Parsons <the N'lew' Sclloo] fb:r Design, She has
,perf:ijrmed" lectured"

on fa shion ~portrai ture and fine-a rt photography, "I love worki ng with great
artists, whether j['t,"s ama Zillg' makeup e. rti sts,

h W· 110

of Niall ,MeCle]1and whom h€ profi les on

l,

D,tUI,..] 'I" c,.,'!!1 ~_. Q. ill, t~Ul

pihotogt-aphy ~.,.~ _"~.E
';S

as well

,SiS

industria] and

- --" - y' F'- USCG, he sa·. s, "I'FI!o"s e interes.tJlllg and ab straet. She he s selec ted herself
I',

art directors", of-in. t:his case-sbeing a ble to get a glimpse into the wor Id of some one Ii ke

gra phic design at Pra tt Institut e" ta kes 8. strong persona 1approach to portraiture that eschews
tricks and pretense, This

page ,48 in.a g'lhlO1LlP' show at Cinders G,sUery, in Brooklyn, and W'.9S struck by the graphic force the
2J. rtis

t coaxe d 'Out 'Of

roughed-up, workad_,a.Y
media with his IaTh."',ge she ets of photocopy

responsible fur a program of:exhibitions including' the Br.itish Art Show and a series of artistcurated shows, the most recent 0'[' which wa s Ma rk Wallinger's '!~The
R'lLSSJi3.l1.

Line sman."

attitude also prevails ill
her works ill ink on

as the medium of choice '[or her art, It must be very challenging for
someone who is used to directing and expre asing them sel ves to suddenly be ta kill,g dire ceion from

SOlneone else ..~ '

paper illustrating written conversations she has with herself and others, She re eeived the Art D irectors IC]u1ls Silver Medal for photomontage" and her work has been featured in, Time, Sport« Illustrated, Bud the Wa;,U

pa per, "For a long time, it was nurel ,,. based on the v lr' fact that it was cheaper to use that kind '0'] m ateria l, VIhieh felt lite
an honest and! direct

Forthcoming exhibitions j[tltclude Mark Leckey's, (~T h ~ .."''" ,an ec. gno'SJiS -d "George Grosz: The B,ig ,N'o.,'1 His review of Sigmar

exhibited, a nd curated around the world since tHiS:8 and is represented 'by Alexander (ilrBI.:Y Associates, in New York. Fu sco is a re cipient of a 2003 Alpert Award in. the Arts.J n her essay for ,Modern Painters, on ..age 5,2 ~ she reflects on 'her iti nera nt perfor manee 'with. IGu]]lermo G61nez·
Plena, a s "undiscovered m-eri arri ...... A· ..-' '.,i, di ,doll']S ~ ';';;'!::'!l. . '~' d outI!.I
li,oIl']l. . iEi,li,- !".F!! ,I'UI.

Polke.~<Hie Pe,tt.y Bourgeois],
on. pa.g_e 4 ~merges his in tere st in the graph ie arts w ith Ids a.ppreciatiori t"oAiir' erm - an i0;r'&~ist '. JL.'IuJ· the Il.! I!W.""
!G... ·G. 'JIl.
'IQJ.... ,!Ol,..

betwe ell 199 2 and 199'4,.

Street Journal.

approach to maki ng art," ,McCllella,nd explained to him, addling, "Despi te the fact that they're , .' 1 wort hl-. the materials _866" ll. iL1],3'IIJ,iCJ1, th e COlflcep t :~, .: .~
;Ii.

'Coco I~LJSCO was happy to play along with our shoot despite t'tl8 neor~freezirlg t=rr perrri. res l-ler lovlng and worrr personality

~ Nori Word was alwavs tn ~ rnotlor. never stopping 'for very long,"

shines through in tr,'8 im,oges,n

~ Even thouoh .._.. he works them ~rfl-o bold compositions, Ml~Cler[ondis pieces ol\rJoys SflOW the scrappy DIY origins of his tecrlrdque,"

'II welcomed the chance ·1-0 look closolv at Sigrnor Polke s work of the 1970s often considered a lost decooe.'
l 1

"voi. can take the girt out of 1~he cogel but you can't take the cage oi.t ot tne girl[~

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A FEW INVISIBLE SCULPTURES

511 W'EST' 22ND STIR:EET I NIEW y'ORK" INY' 10011 I T +1. 2:12,633 6999

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ER /I FtBRUARY

tit is month, which easts a retrospective glance at her ground brea king 19i92~ 9'4 perfor ma nee piece ~ TU.NJ Undiscovered A. rn, ri n dian S' Vis i t e the West reminds us how Iong it took the art 'world to get 'back to politics after the e;8!rly 1'99Os. 8 urprjsingly, Gei(],rge W. Bush's Iraq 'lJ\1ar debacle didn't prod uee nearly as much dissenting war k as the Vi etnam WatT.' did, despite the fact that U. S. involvement in. the latter W:8!,~,'briefer' and. occurred at ,8. time when there were far fewer artjsts. And t h ·v erein ~I]" the,v···rub:'_ 'Th~JIi";I!d, ... more a r 't-~ st tc ,',d'~.J'V' be """I!liI'U se t'nllD.l~ m a rke .. ~~ re rn l.. ~ ill v~ ·v-ib a.JI. '_ V t ~.._~ eon. iderably Iarger than m't was 40 years age-e-or eve-n, 20 years ago" when FU8CO~S s piece fIrst zile d viewers-s-and the expanded market ha s both, discouraged works that S]11.0U t fun. ange'r and. ,8,ttenuated the nnpact 'Of any one such cry,. The pa st year' has seen a remarkable change, however:. It has been elass wa.t·fa]'le elnse to hnme-e-rather than distant wars and their attendant war crimee= that has awakened the Left. And. arti sts have joined disenfranchi sed populations from . ondon to Lebanon to Lower Manhattan in assuming 'the, responsibilities of loud political speech, The unbowed and ever-glittery art market has been outshined, in recent months, by political art. So it EN3'€lTIS that there's still hope fO'1' antiestablislrmentai-ian activists, as wen as for ,artists making work. in their spirit. Wit:tl.'ess, in this iSS1U~,'Narlli Warc]=\vho" in Studio Cheek, tells us about new work made in. homage to ,Q,(?CUPYWall Street-s-and NaBel11 Mohaiemen, 'who explores, the history and the impact of radical lli'9,ft'ist movements, I f the pres sure of the year 's even ts ha flo re sulted in this issue 's in adverten t theme of pohties, it is one 'we never sought to choose-c-one could say that it ChOS'8' UJ~L The current of events is lighting' up everyone's cranium, But that doesn't mean we' advocate some sort of 'party-llii:ne test or beljeve artfsts even need to address polifics at allilli. SOUle covered in these pages, such as Charlme von Heyl and Nial] As Me Clelland, re mi nd us: Be aut y In!8.kes its own protest and needs no ap010 gy.
C'O'CO FUSCO'~S ESS.A y
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NEWSMAK!ER

that you, have relieved yourself in an. artwork by 1'J1e Danish collective Superflex, 'I'h at would be Poioe r Toile if JPMorga n Cl1-US€ the exa et repl ica 'Of the megabank's exeeu tivs bathroom tha~ the group, permanently mstalle d in a Greek diner on the Lower East Side" in Ne\V'York Ci ty, as part of a Creative Time commission, This Conceptual Lavatory bears the hallma rks of Superflex's
THER E,':$A C'HANCE,
1

aeethetic=pclitically charged, hUIDO'1'iijUS. and a hit absurd, For- other WQM"·ks~ they have flooded a hand-built McDolna ld's ~lit a ca r 011 fire ~and. orche strated .."Free Shop," dueing
1

which a customer's purchases

Bit v:ar]lotLs stores

are unexpecte dly ,gra.tis. lEo.rly 201.2 is busy for this projieet~juggling t,rio, composed . of Rasmus Niel sen, J akob Fenger and, B j erns tjerne Christiansen (above, from left), They' have an exhibi tion at :m:3,0 IPE in Los Angeles through March 3~with another opening on l\tlarc·h 1 at Pet.er' BllJl.ll1 G,aJl.eI"Y·, in New 'York" And their piece ,CoPYL~ght Factory win be .p'ar't of '!~plrill't!,Ot," op ening at the M useum 0:1 u :Moden:n A'rt:; in N,~wYork. on February 1'9,. 'This year' a lso sees the debut of Superkilen, a park project in. Copenhagen that Superflex spearheaded along wit]l. the Danish architect ure firm BIIG· and the landscap e
j j j'

architect Topotek.l. The park features. designcentric fixtures-such as bike racks and neon sigas=-from more than 5,0 nations Scott Indrisek spoke with Christiansen about Sl1perflex's immediate future SC'OTT'IN'DRISEK:

.

=

~

Can we. d·iscUS8 the fU'n't

screening at

1.3lJl PE

and Peter Blum GaUe-ry-?'
,CII·RISTIANISEN: 'We're

B,J0R.NSTJERNE

j

showing Modern Timee ,FQrever~'which is the longest film ever made-tO d~6l!Ys-pJriijd.llCled for
a. public "project in Helsinki.Tt shows. ,8 very
modernist, loaded, powerful building-s-the Stora Enso, designedby Alvar Aalto=-that slowly

POR

OLIO

/1 TRENDS // SNEAK PEEKS /1 NEWSMA.iKERS

-

NEWSMAKER

-

decays over' severalthousandyears, It's about what happens to those power sy.mbo]s,~the architecture, the s truetures, the ideology. 81: Hoas tlid you determine how the material»

of'the Stora Enso woul',d decay?
B,C:~ There was a. ]ot of rese arch-vtal king 00

We'rlS critical of that, Recently, at the Van. Abbemuseum, in. Eindhoven, the :Netherlanda, we made a project titled.Free Sol LeWU·,t that's about the way in which museums and others deal UH1" th na\Ai·rl,.,t':' e .r ~")'!JI' .r.;.b-·1"1,-' that _.C ,{][I!J' ·GiL -GS'"'I,,,,~public eollecti '.ons'. •. ...; .. lLJ - .... -~'f,

6

specialists 'who know about the materia Is and the conditions in Helsin ki~andl other
specialist research on the effects of climate change, Then you make artistic decisions, because no one f,ea]ly knows 'what 'will happen in. thousands ,ofye ars, It's speculati VB. Sl:~: HCfU) did YOH create the epeeio; effects?' B,C: The Propeller Group-e-the team w'~~ve been involved with for the past four or five films-vis doing the animation, It st-arts, with photographic material and architectural drawings, and then an the research is. added to the technique of rendering it. An impor tant e;]ement in the film, is the hand held- camera e;f'iect~ ifone person is as viewing the enti re process, It looks like the videos uploaded online by people 'W]lO filmed the 9/11 World Trade Center collapse with their mobile phones or cameras. S1: 'Woul',d )Utt ever redo ,the same idea wi th, say" a building in New York? Hie,:: don't think SO~,b ecause this, type of I monuments I architeetueal building is basically generic for the 'whole '\-vorldl.,You 'have the same ' buildings in New York, ]11 Denmark, and so on, It's the modernist thjnking about how to display
power, a certain arro gance, L -1 -"'.l S]' ,S Wl~Y :use tna: p' -,uu·' ~n:g l-.npa'l:·,tl-cu,,~ar:.IJ ',:, .•-.0 ' .' 'J'd'" BC::It's Ollieof the most important buildings ill

SI: What· is 11 vee Sol L@Witt? B.'C:W(fJ worked with the collection of'the Van Abbemuseum, 'which 'i s an important one from
the Minimalist and Conceptual art periods. We had a.metal workshep there that :v8.produced one ofLe'Vitt's works in. the collection from. l'!l72" an. aluminum structure, We copied that a nd distributed it to the public; an exact one 00one replica. People signed UPr and then they recei ved a certi ficate and! 'this very, very large B tructure We,expected a. confrontation, \v~liCh also happened, but fi nally LeWites estate accepted our work, Now it's ,S! case study t7~jtr how one can deal 'with public collections. That is one problem we have. When a public collection acquires a work, with public money, there are extreme restr'ictions on how the museum can. deal with it. If they w,ant to publish a catalogue containing B. work that theyhave ]11 ,8. group show, they have to ask the artist's estate if they are allowe d.to show some th ing they own, The que stion then become s: What is it that the museum owns? The intellect ual-property system has implemented so many regulations and. filters that it Iimits the 'way that society can evolve. But you do not only need to be critical. 'You need to make models and examples to challenge this, 'I'hat's what we 'try to do, S.!: Let stalk about the S~uperkil€n park project,. BJC:: e have obj ects from all around the 'world W representing 5,5 or 60 nationaliries-> stl'€ etlamps from London, an octopus slide fWOID Tokyu. It's about ereati ng stories and new' experiences in the public realm, So jjfyou sit on a bench, there's a small placa rd. 011 the ground that says, for exa mple, "This b ench is from a. park in. Te]llb.'"an~"=in. both Persian and Danish, Superkilen is located in a hig-hly dense area with di\'--erse·cultural", na'tionaI~ ,and[ ethnic 'btl!ckg,rounds,., We wElll'J.ted to use that as ,9! very big va lu@ fOot'" this ,allL"ea, Anler.ica is one big miS]lmash of people from around 'the warlcl[= t]l;afs ,m,ore'Orless the cOl1cept of the oou.ntry. B,ut in DeuIua.rk." iea quite ,3 new pllenomel'lon. that ~since th,e 1960;8, we 'have so lllal],Y different cu]'tures. And that leads, ~-O 'tensi~]ns.011 :a d,8d]y basis a.nd is an easy targre't for both individluaJs, and nationa1is't .and.populis,t ]parti,es to attack a.nd use:in trylin,g to crea.te' ,a xenophobic society. S.J.: ,FrOrt't a des,ign viewpoint', 'is there .a harrnon,)J
=

Btlnlu{'at· Peter Blum.

BC:' They're banners for bankrupt 'banks, a portrait of the financial eri sis, since ,2007'; ,81 poruait of the banks and how they are used d n l!bl.lIli.Q S .. D]'- l'..... who.,~ ~'1I. the spi . a ng' - eel {'i;.lV i!.I . 0 'C;'!Ull'd t.r'il'lidiG l~ !& financial system. ' t I'S a reflection upon
!'i,1i,G-'~ -,.. l"f1,£I;

in sti tu tions that no longer exist; they've all
been. acquired. by someone else, 81:,Is there a diffiC'ul~y uihen. you re making work ~hat ~ abou: curre.nt events? Be·: Things don't change that quickly, This ".G specmc proce ss (a,f' '11-'1... ~, nancia ial eri " as we 'I!.,.!JLe n crisis, know it, righ!t now" 'bas been 'happening since ,2007.., don't think it's so difficult to make up-todate eontemporary 'work or use contemporary issues because, 'tlley all carry history with them .. They don't come out of the blue ..

81:: At 1.301PE", y{~U have a s,erieS' of p}wtrDS that

shows

,[j,ariot/;s

stock

exchange«

in states ofdeea».

Be: They're not all powerful icons lib the stock
exchange in New York~someti.lnes 'they are even difficult to find ..Theee's the stock exchange in Karachi ~Pakistan, and elsewhere. 81:, ¥Qiur' Copy Light Factory w.ill be.part of "Print/Out" at J4UMA. Itprodueee a serieeof lamps

Helsinki, and. people both hate it and leve it. h.lany hate it because thes e buildings are placed where the compa ny wants '~O show off power, in Im pnrtant squares Bind.planes iu the city.

81:, 'What's your personal opinion of it?' BIC:: I think it 's a fa nta stie, a lmost b eau'liit'u] building, but :ires a lso ugly in a sense. It s in a
J1

w,ho6;e exteriors are photocopied' i mage.81 ,offWnous

central area ~uear the president's palace and the mnat impurtant Ca.tholicchm:ch~an area that is dominated by these old, important institutions, a nd 'then there's this moderrrist block. in the middle of it.
ve:ilf'y

lampe front design. hi'st(n·y. 'Why is ,Super{lex fascinated wit.h this idea .of the real' versus the fake~or the .copy versus the orig,inal?
B,C: It~8 so much a fascination with the real nat .and tlre, fake, it's Innl18 a ,confrontation. vvitl1 the Jrntenectu~l~property I~ystemand the extent 00 which it has d.evmoped during the pas't 00 years.

81:' Y~.ua lso have a s.eries' entit led "1J'ankrupt·

R?OM

T()T]~

Bankrupt

S'anks/ Washington

M'urua' Aoqoired

by JPlvtorgon
C"C~~6\. ept, 21s~ S

:iu 01;.e ark? Or is 'it sch:iz(Jplvenic? p
D'e:: S'Qmetimes ther,e~,s'htlL'rmony between SOlne of the o'~jBets,. 'Other' 't,_]mes~ thel1e's a. clas·h. T'he.re

Co,Hon fa blriC (lInd .--: .: ., -,: 'il t aery :1":Ie IPO.n.,
"iI'ifi;

2'008., 20'11 ,
X'
'~ifI;"

to·

.1'0 lin,

A, :r;:,tflll 'f'rOlrili M,odem T~ine.s Forever, ,20'] 1 , 3-·['lt 0 IiiI i mQ}= lion. :24[] lh OIJj r-s "

are pines. ff\om 'w,ay up north in ,lFinllal1d~N~ext.~ tll[t81'e;Sc6U fDul'rutain from Mo[\ooco~;ft braauj!.:[hi one f ma.de ofcer.amic tile8~Next to ·that there are palm. trees. fro:m.,China., So it knoks Hike sOlllething ymu could imagtne sleeing'in:a dlese'rt mirage.

TRE:NDS /1 SNEAK PEEII(.5 // NEWSMAKERS

//'

ORTFOO

Mlaniill,ow Se'lnior Cur,altor ,alt ,t ,of COln'tlemlpo,r,ary A -, C-I icalgo

I··. MUI,se,luml

W h cd wo rks 0": a rl W'ou Id yo u ,own" if

space and cost were no object?

Adolph Menzel's The Ir:on-,RolUn.-g M~ll (Mo,d'ern Cyclops), in the kitchen". Ford Madox Brown's 'Work, in the study'. Rudolph Schlichter's Cocaine Addict,
in "he living room. A, Gus t8.'VB Cou rbet for the be droom, And I also wouldn't

mind, owning Karlheins Stockhausen's
earth gong.
WhEeh a nist: critic ..or art world pe,rsonalitYiI' ~iving or dead"

would you most like t,o have a drunken, argument wi'th?

How about a, whole scene: the Dusseldorf Art Academy in the late 19 6,(]is" ea rly '70s ,.when J,ij,rg '[lnm,eli]cllorfl'~ In1 i Kno ebel" Blinky 'Palermo ~and others hung out 'with Jose-ph Beuys in the Ruhrgebiet. Maybe add Susan. Sontag for good measure"
Whot':! the lost' great bock
V'flU

read!?

The Iast great book I read is Thomas Bernhard's G'athering Euidence. The Iast great art book I leafed! through Is Art of
P R IVA,ll:
VIII E'W

Two Germany»: Cold Wat..Cultures.
Any reee Il1t musical di'scovedes? Hea ring the dee:j,B.Y play a 'he ndful 'ijf tracks off of The Secret

Allison Mi~ler's "a"y
"~HOWCAN THIE UNCANNY

INIC,AINNIY AI:S I:AC' l'OIN
layers

Mu,~-e:u,rn of Mank:ind~ Vol., ,1 just before a free-jazz blowout in.
Chicago's Hideout has been, a memorable musical experience. Whic h inll,ernalional city give s you the grea test' he p e fa r con'fr,empomry ert's fufure." and why? or y.. Be'fiii]; '", because ·0,1: 1·ts rel ative pO'!ii·~'!iii't~T' "I'h~:;, v',;:" "1 -cont ':''FVi;'P'~f!5 'R'l" ,.I!, ... I', . .~ Vl,,,,,,.J slow nels s, and the complexity of a history that cannot be mined in Gh1'W forthright way; Wha1:.I"s ·one artistic trend you wish would di'8 out? The reenactment :indu s try! Whic h exhi bition that yOluilve curated in th,e past th r'ee years h,ave yau been the mos'! proucl,ol? That's a tough call. Let's say I'm very proud of"the curatorial extremes represented hy two shows I organized ,at Museum van Hedendaagse Kunst Antwerpen (MUHKA) in. ,2'()11,~ ~~Li2 m iGillick and Lawrence Weiner: A Syntax of Dependeney" and '''AR ua: 'The Spiri t of Rio de J a neiro" =proud, that ]S:~of Iny own flexibility ]n curatorial matters, Wha'i non ..c rl"related th ings give yo LI directio n'? Are cats thil'l.gs? I guess not. I'm afraid that in my world everything is art rela ted,
. J.IL J,,l,,. IL><U;wI . D' . )~I!J..cJl,"': 'UL ,,}' ~ JlI!.,ID . !Gil., 'iI 'lIi'ii ~.III_,l 'Lo ,l,ll
rc;i,L,L,l .. !l..J.

exist in abstraction?" asks the Los Angeles-based 'painter Allison Miller. Her paintings, with their
wiggly-edged non-Platonic forms provide an answer to this riddle-fo.r they eerily manage to be both playfully naive a.~nd seriously mature: their irregular patterns oscillate weirdly between the staid and the briqhtlv hip. For Miller's new show at Su'san Inglett Gallery, funning througb March 3-heI debut in the space, as well as her first major exhibition in New York=-the artist has painted. works that give the illusion of havinq been composed of layered transparenI'

cies. By tucking opaqu« shapes into piles of translucent forms, Miller transforms coyly crude compositions into complex multidimensional surfaces, Miller, who says she is "endlessly Interested" in, Edouard
Vuillard, and "increasinqly interested" in Lucio Fontana arid Rene Magritte, has consistently refused to make preparatory works or studies for her paintings, She has. however, shifted her studio practice in recent years and moved from patnting only one piece at a time to 'working on as many as seven abstractions at once, Moreover! the artist has begun deviating' from, her traditional canvas size (either -l-by-f feet or 5-by-4 feet) and expenmentinq with, other dimensions even squares Cia. different ammal entirely." according to Miller). VVh.ile she considers her paintings "a continuous line of objeots," that doesn't mean the line 'is "rnovinq in one logical 'trajectory- It can move forward or sideways or even double back on Itself." she A Illsol1 Miller explains r "all of which makes for a painting' that BuHetin. 2011. AC ryllio nd a hopefully behaves differently from anything I
I

You're coming to Chi,cago 'fflom MUHKA" in Antwerp, Be,lgium. What e,xc~tes and scares you the most about America?

I'm exei ted about ,Chicago. rathee than Ameriea-sthe city's histneical commitment to ]dt~"a8~to culture, And ]et'is just say I'd like 0 ba m a B. South Side Chieagoan, 00 stay' in office JOE a nother four-year term.
!

What are' you working on now? The first-ever comprehensive survey show of Chantal

Akerman's work 8S a visual aeti stl' opening this month at ,MUHIKA.. Also, Tm 'Wlh'"Jlting' a slim. volume of poetry COIn plete ith "" • f" "'] wi .. very ex fl... eensi ve com mentary; com posmg •or a gong -annmallet ensemble called the Tenth, As saul t 011 Kazan: and completing eSSGlQlS the work of 'TZHl1 Guimarae s on ar and, Sarah Morris,
Wha1:J.'s ,our fav,orite plac!e fo~ qu iet conte'mploti y on?

1-' LlJI

u,

::J.

,·~~UJ 40 in" )<

o~I on Co nvos ~--~

have d nne before.

~j

,......

fEM MlA, ,AJl.JL.EINI

Any cemetery that eontains the mortal remains of a 19th,century G,errnan ph'ilosopher,

AJ~'ilrIN fO'"COiM F£BR.uAl~Y 20 I 2 IMODE~IN IP-:A~NU~S

17

'.ORTFO ~ 0 //TRIENDS

l/SINEAK. PEEKS 1/ NEW'SMAKERS

'TH E FIFTH E:D,IT11 INI oJAV fr'estilval showcas ~ 0

mg art, teehnolo gy, music; and film. takes

place this March in cities across North East Engla.nd:, Newcastle upon Tyne, Gateshead,
Middlesbrough, and SlLUnderland. The festi,val is organized this year around the theme liAs Slow as Possible." Rebecca

ers to stretch what was previously a 10~day version into a slowed-down? monthlonq exposition that makes consistent mention of the pasgin~f days. Works include Leif Inge 3 9 Beet Stretch, a performance that digitally
i

ShatweUf.the director describes the concept as !~.aesponse to London .2,O~2 the r and Olympic ethos ot hi,gher~'faster",stronper' We
t
j

were interested in creatina a slow edition of the, festivalas an empathetic reaction to the
global s]ow movement, which is challenging the production and consumption of art rn
to day I'S accelerated world," The theme OK

stretches Be ethoven's Ninth SYIDp~honyto 24 hours, But 'the fe stival's openin g day 'Mil be anvthino hut slaw: It tncludes a,24~ hour launch, 'which will enable viewers EO sample all the exhibitions as fast as possible. These include significant U.K. premieres of works
bY' John Gerrard, Cy-prien Gaillard (in his

largest museum show to date); and Torsten
Lauschmann. as well as solo shows by On Kawara, Jem Finer, Susan Stenger Benedict Drew, and Elizabeth McAlpine. ,-O'Rllr'GAr
j,

slowness aliso allowed the festival's orqaniz-

J ohn.:G aIm rd C.uban School (Communfty ot'5j11 Octooor), 20]

(]I, ,3-D pro] sctton.

The ert 'war d beeemes a eet lady

.IHE 'CLAWS, CO.·· E OIUI

the exhibition of the late Robert Heinecken at Friedrich Petzel Gallery, in New York] last tall, you would have been confronted by a photo-sculpture of a small stoic cat with a dead bird in its mouth, The piece held court at the front desk, a sort of spirit animal for the entire gallery, and it was an apt choice: Felines are colonizing the contemporary art world like never before. Last autumn in New York, Urs Fischer and Cassandra Macl.ecd's exhibition at Gavi.n Brown"s Enterprise featured a number of cat-therned pamtinqs plus p.hotographic images of the animals printed on the tops of sculptural tables. MacLeod notes her awn appreciation for feline imagery in Chinese brush paintinqs, the cave drawings discovered in France, and the works of Francisco de Goya and Pierre Bonnard. "The cat is a perfect canvas for proiectmc human, behavior /1 she says, "They're sexv, stupid. and cruel, easily domesticated and lazy; devloua. silly little four-footed paradoxes." Kristen Schiele's solo show at Frei,g:ht ,+ Volume· included cat imagery in, a number of paintand-collage-based pieces, Andat ZiteherSmith in New York, the Los Angeles-based artist Allison Schulnik's oil-thick offerings included multiple feline portraits and a sculpture, Heats are so eleqant, mysterious, and gracious-like dancers." says Schulnik, w'ho cites cat-fancying forebears such as Balthus ,AJUliisartScbul nUe and Henri Rousseau as inspirations, Cot Head; ,20']11, HIt's like thoywore made to be placed ()ill on llnen In an Image.' 23~h 23,V2 ~n , ,x'
IF y'IOIU ENTERED
_ • rl

OUI1iHERE

ITr ]E: W ~,'SWH[IITI~I 'C:---IBE
,I

Our favori e online-on Y' art
, r Bubblebyte (b1ubblebytellorg)

spaces

Directed by the Italian curator ,Attilia Fattori Franchini and the English artist Bhys Coren~ Bubblebyte presents just one online solo show ata time, 'Rare among online-only galleries, Bubblebyte hews ekisely to the traditions of a brick-and-mortar space: Once 'the show is, over" the a rtis frs. work is no longer' accessible on. the g,aUery"s, b site"

"'Te

t, Fach

'~_:~' Klaus Ga~lery (klausgClI~ery.net) I''..', p,el1,eu. Jill, N·_, D ~.'" ,~1 "i -.-'m .... , ' - ,';'1,- ~"e a U.SPI'Ces f",·, ovemLUJer_, 20· '1111,UDuer th ,'_',,_,,''', .
c1,' -I

of the Klaus von. Nichts sagend Gallery, in ,N'0'W York, 'by the artist D'UIICa.l1. :Ma]asl1.ock (once the New :Mu8euln~'s, wehmaster), Klaus Gallery features two-week-long, online-only solo and group shows The site's first exhibition was a mixa d-format work by Michelle ,Ce]a that included! video, audio, and 'Gllt-, file s,

Gal~ery (fc""g .. r'Q) o This Web- based gallery is a oollaborative IMlrojiect.between the .artis,tt s Ole Fach (above) and Kim Asendorf (right)" 'The site shows a Jr.·ange of formats of Internet art, ]l1lC.l uding 8 till images and videos, hut lately, 'GIFs have come to the fore, These short ~I,oo:pi-ngdigital animations can be found in the gallery's recent group exhi bition '(~F 'riends, j;, 'The ,;Veh site ShO\V8 work by a variety of Internet
arfists ~in'C}LLliHng:Ube:rlnorgten"com.,

a Asendolrf

.1

st,gle (thesla Ie .tumbl f ~COlm) Though 'IIf'i'~'W' 1· active!GO" the 'Tumblr-baa. sed I 1I artist-driven online gal]ery (~ften under the
, .V ," ,iIL1U, 'JI..I.,'r ¥ii ,!v __Jl.JUl.
' , __ f.:I : ," _,

direction of the Internet artist and theorist
B,.radl'I'roemel, below) still exists as a eritically im.porta.nt a rchive of Internet .art exhibitions. State fea t ured artists who had already ,p.8.'B,8Hd the threshold of popular regard, including Parker Ito, Constant Du llaa rt, a nd Sara Lud_y.

Dataswitch,

and Brandon BI'(b11JLuJLaert.

t' Parallelograms

,(parallel 0 grams~ ~nlo) Run by the designer-artists Matthew Harvey and Leah. Beeferman, this '\Ve'b site commiesions weekly pr.oJ~cts by ,giving featured artists an image file from 'which to draw inspiration. The image is then. shown. online preceding ~he 'nB'W work, Given a stock photograph of' a woman rubbing 'her remple s~ Jeremiah Johnson. produced a. surreal text'based. adventure titled ~~Void aze," G
,...... KyIL!E CMAYKA

'OR FO 10 //TR'ENDS

// SN!E.A.K. PEE:KS II NEW'SMAIKERS

E=OOM n.EFr:

Alexandria dctCunllfJ Kentuc.ky (Divider). 2~J~, Mo p heeds, 1

rnetclrods,
c nd hooks. '79 x 95 ')(' 21in, 1

Couple U, 20110. Co nClfete bench end foam. 63 x 52.x 29V~ in.

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!PRIVAWE: V'~EW

NEW YORK

Ale.xan·dlre da Cun,h·al m,akes alrt W·-Ih
j'J"fH[R'E S A [)R'E:SS~N'G'-UP

I

POy·

V . RYW' ER

-I

eps, irolnin,g board·s.··and blr·al·ce ers
l

element that has to do 'with the idea of asplmtion." says Alexandre da Cunha of his desire to take simple everyday materials and domestic objects and "expand their exis-

tence in the world." This includes mop heads, which acquire a
distinct geometric appeal when knotted together 'in the sculpture Kentucky (Divider)1 20111 that hangs by a metal rod from the ceiling at eRG Gallery. Also on view from. February 23 throuqh March 31 is a series of small totems entitled "Busts," that refers to figurative sculpture. using dyed. wool, concrete, and additional mop heads. Da Cunha is fascinated by the cultural significance of objects and their relationship to notions of labor, trade, and value. For his new group of metal sculptures h.e utilized everyday mat erials and
I I

domestic obje cts: utensils, iro ninq boards r bracelets, and vases made of alummurn, copper, and steel. The neo-Mimrnalist assemblages carry loose associations with their chosen objects' everyday functions, although such a ssociations swiftly unravel.

There is no doubt that the U.K.-based artist has been predisposed toward offbeat approaches to creativity by having been born and raised in Brazil, a nation famous tor its resourcefulness. recyclinq, and innovative problem solving. "Regardless of social class, Brazilians are likely to be constantly exposed to changes
and instability," da
C·lll1118.

says. "The culture has been immersed
~JI~ILILIFI!LDMIAlN

in the notion of Improvisation."
FOI: MORI! ", ARTIINFO~·COM

T',RENDS II SNEA,K '~EEK:S /1 NIEWSM'AKERS

1/

P10RTFO 0

II!I!WI
~

141-0 TI-I'OIMI- 5,0
The chief c u ra tor ai the n onp rofit Creat ive

Time, in Neui York~ Thompson is t he author of Seeing Power: Art and Activism in the
Age of Cultural Production, just published by M:e{viUe House.

not just SJlTIp]y do a. play, I 1'8 i nt eres tin g:. The art world love d it. And some people ~'f"ere'c:y:niea] about that, people who think that art need s to be em bedded in certain political movements to have meaning ..
A replay of the ba'ttle of the 1930s.

DA.NffiE;L K(JNITZ: What W·OS YDur aim in writiln 9 thi s boc,k? T f" ." ".. "•. .' ._: .1>:' thm th : NA"" O"'. T'.HO'.':MP"SO"N' .... : 1'1..· t.: ,e ki]I]] d 0, ~1 S . HLa. .1 ., bV S 1EJ1!Gi.,r 'u', U. q' 'e"-tionr th <BIt I ""om-e'l!'lI rii- which Uf'\e-'bevon ... !;::t.ll sp,ecifleB.Hy,.is trying 'to 'take a reading of the 21st century, Culture at tIl€! bi~ginnin,g of' the la ist century was a very different beas t than It is today. The industries of culture that exist with radio, television, the Internet ,. advertising-that kind of conscious In an ipul ation ,~fthe symbolic world:-fus. on a scale th B.theretofore never existed. And
I"" IL.' L' a.I!&~ 'Y'f . oIL."':; •.
>Eii .......

nI

Yeah~totally; It's like the hattle between say" Bertolt Brecht and Theodor Adorno ..Brecht thought that art should always be embedded in neooles II· ."~'.:.s~'I'npolities while l~luUU~ eno:. sai ·/U .:_ ves ]lI ...doing ]11 .~ .-u ~ ~~" :U dLhl~a, .... IJIl..· .. A ... .... . . _ that is in strumentalizing, and utilitarian. What SOllt of' coniVersation do 'You hope the
&' ..

l.

l~a

IU··

bo ok 'w~ S P fIlrrk?' I~

One thing tha t is reallyi mportant to. m.e is that the language a bout art is stdll operating
predomtna nUy
,8.8

though we're back at tbe

be ginning of the 20th, century. As much as the
theorists havre interrogated ideas, ofbeauty and 'the like, I don't necessarily think th€ lexicon. 'we us e to discuss ar-t 'has progres se d, In some ways, it's b ecome more conservative b eca use the market has become such ,8 'heavy force, particularly in the 'United Sta tes, Discussions about art get st uek in what the market is. wining to fund. But I bijpe this book produces a lot ofvarious W,a!Y,S of 'thinking about .art= not just ahou t whether it's good 001' b3!d..~you can think about what it does, various Ievels of engagement, what pedagogy i8". You can also think about some p,ro'jects, such as, Rick Lowe and his. Project Row Houses, in. Houston, which is a-nexperimental community- revitalization initiative., So there is a. whole other s et of language skins and. metrjcs for success that someone could :app]y to art that .is very different from the typical language of beauty or p!oetry. I" seems ·that what we call art has become
in,c re as,in gly' s piit be'twee,n the somewhat commerciaUz d world and the community ... ba:sedwor~ tho t hes nothi ng to do wit h til e d mork:eI' or galleries .•Is 'your' book 0 sort of

this has radically changed the wa:ll a rt is
understood, hut more im.portanltly~ the 'way everyday Iife is. understood. Wa s ·there anything in parti cul,Qr that led you

to wr~te the

book? My experience of working at the intersection of 8. rt and politics, ifyou win. So it 's me, and. also

artiets I know, battling with these questionsof representation and how to make meaning stick, particularly the experience of not only
" pJl. 'iIk I th, . hich simn IS. t"1C t,erm-uu t aiso t ..e ways Jill 'W]u,JlC . visual. representation is.rapidlly sucked into a machine of power and. spit back at people ...It has produced a situation in which there is 'Vast distrust, Politfcal art easily becomes the look of corporate culture, and so there' s a huge J:lottjl11Lg corpse at the center ..Arti-sts are the people trvi '.' g I!J... to ak e m e ani ng in II.!. •. w·... ".Ai,rl",l ,. the .iLl;::: .J n JlIll and making meaning in. the ·wor]d.is very difficult today beca use 'we live in a n extremely eoerci ve Iandscape, Con you poim to ex,omples,of people
'U !U .'.Jl.. '~'1Y1i .iLJL.lL,il:'!l.' . .. ,!OJ. JL.Ji.
, ".

eo -optation-e-beeause

that seemsIike a very

these things are geopolitically specific, AJt- the same time , what 113ncreasingly i universal is the fact 'Ul,8!tculture is,.a thing that i;t:'t .r. a· bv 1-' '!:(.v. \ll ~ When . J'iFiI~ep'h."'.i people V"Ii' . ..' :. - 10;,ld ,.;,L;0,rii.ll.D·j mad 'KJJ I.··· Beuvs is S!OL&' ,1!J.>IJlh:ll.'!J,.o
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sure," But today you look around. and everyone is a.photographer, everyone is a videomaker, People routinely make culture, And they don't even. think, I'm a. n artist, If s j nat 11~)W they IDtlke their Ii ro. Look at the Arab Spring, the Russian and. Europeanproteste, Occupy

Wa 11S treet, M, hate to go on and on about soeia 1 networking, but it is .3, vehicle :frhr people to
produce their O\VTI culture collectively, and that 1ls.11uge:ly powerful, In America, however" the mfrastruct LITe of the art world. is dependent on. ,a.rn:ucb earlier m,~d~eL 'e~1 m'e about 'the, bookj's lil·le. Seeing PDwer:.

who have escaped from the politics
of co""opt'ation?

wedge between the two? Yes, I'm hoping' to rrpen. that
1.

Up'.

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'"!aiti~g for Godot bl New IOrleanS'~ a production. of"Samu@lBeckett's p]ayin the devastated
land.scape of'the Lower Ninth W.aI"d~ post ... Katrina. Paul ,~~ras conoernedl.ahout doing ve]f'Y th.i s. without In,akiu.g it about the -specta,rlle of th.e tra u rna ,~)fhe s·e pHGJple's.lives.~ a.nd h.ow ~fi t
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is alw,ays ,shifting.,T;he politic;a]~· art oo~nm.unity can be v~'r'y divided., h@tw@,@l1. ho,nes·t cui tural 8X])ression and. paranoia a bout
'who ]s getting a'head~ 'who is using the .lTIo,vement ·~o th.eir advan ta ge.; In .. '\-va~yr;, is a it .grappling wit'h the 'l:J",aum"a.of having ha.d its culture u.s·ecll against it IDOl" .gHneration.s .. , What about the' in"ernc'lional scene? In some
places". just mak~ng alit-even pa ilnt1ing ........ eI' pol ifJica ~act. is,
j!

]~m iD'ter@st~ld in how 'welre learnin"g to see differently, 'By ·that, I mea n t]le lessons o.f
ius'ti tutional critique ~ir.eincreasingly be~'o,ming a part ,nf -the· way we see the wor]dL ]F~rexam p.],e, if you see ,a.pr'o'test poster for

of the trauma

s. some kind of u EHaf'ul'\-vay to lb{)lS'~erthra excit@ln.ent ,a.bout ,a.n artw~ork~how to not h~ ~ 'eareeri s:t .ah out.it. \Vh.en.. 'we 'went down there:~
a lot of people 8aidl~'''Hey~pl]eas e" don~t shoot

CI beautUu~

'Q'ccupy Wa11 Stv8et in the w-indow of Urb.a-n 'O'utfi t'ters you see it very di ff~v~nt]y fro.m. thiIB w.ay· y'OUl S€@ it at .a community s.p.ace~'\Ve a V~
j

s. n.ot~ller dOCUllnents. r:.Y~~' 'hecause people down then~ have seen enougJl ca.meras,. T'her!'ve

a roundl.aH

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thne shooting dis,ast~r porn. So

Paw did.,~lot of community activism.~ talkin,g ·to p'8ople and organizi.ng .and. trying to COln~ up '\Yl ]1 '\;rarious lnetho dls.for-m,aking the project t a.ct uaJly have loc'a] Ine81ning, which .force d.us to

Yes if you ta]k a'baut Beirut, '£Olr.· exa lnp]e, even carving' out a. space for free expression is ,R llolitical a,ct. Life there is. iSO po]iJti.ciz6cl already that having space f~r' freethinking :is'hugle[y pow~f'ul In China it is. radicaHy clif'furent al'ld iI'll La tin. Am'~rica~p\a.l"ticu]ar]y a f~~' the Bo]ivarian ~volution~. with a ]lot of]ruti~lt
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gOVen11nents 'comin,g to pow~e]f'·~the rela.tiol1sh]p

-tocuJltufaJ power is vlery djffere.n~. So~0'1 course,

beeom.:ilng i:ncre.a singly .aware that context is Jh'Ieally important, Ies. somet]1ing'~ folb:"' ex;alnp]le IDij'fmuseu.ms· to tl1i nIt. ,~bQut w'llen tbey bra.nd themsel ves with hig' 'CJ~rpor,a~eam,es. D'o 't'hey n W,ault, ,to b@just Hke the Urba.n 'Outfitters window~?''Think a bout the Bl.tW G1Llggen.heim Lab. WM__ndid. it b ~oom~ OK fOr" mus€ums ·tocoblran,d '\V]t]1 'corporations."? They dO'll.~t und.erstand tlurt t'lte-yturn. the art into a.n a.d.,
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IPRIVATI: VIEW
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FRIEDMAN DEBUTS

some 15 works at

Luhring Aug'ustine from February 10 throuqh March 17, They include a self-

portrait-most

likely not done in carved aspirin, a trick the artist pulled off back in

1994-Hnd a lame-scale stainless-steel sculpture" "My creative process fluctuates between an open- and a closed-system
approach," Friedman says. "I'd characterize this new body of work as one that follows a clos ed s yste m, with ideas that are more comprcaacd. For me, every piece

has been an evolution of surprises. and will continue to bel until completion,"
Tom Prjedma 11 Un tiNe d: :2 0112. ~Wbod.Styn:lfo,olm, -0 nd point 32 x :~t2 3:2"ii n, x

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Toby Ziegl. r
lilHIE 10 S'C ULPllJ R E,$. and paint-

ing's tha t the British ar-tist Toby 'z:I.,egler is exhibiting at th,e Sim,on Lee Ga.llery through February 25 B. re all, ul 'jnu,B.'te]y~ made by <hand" although the gene sis of each 'was a. found image that was digits By manipula ted before being re-created in oil paint O]f" al uminurn. "Fundamentally, I believe that a, lot of the content of .hese works is located in this convoluted process J!:;;; says Z]legJer, :in deserihing the role that the eomput er 'p,lays as "a membrane between motif and process,' Paleolithic stone carvings serve as the anteee dent 'tea the sculptures; for the paintings, :Zie'g]m:begins with low -res ,JP'E;GS of works by the FleIll]sh masters Rogier van der Weyden and Pieter Bruegel the Elder.
'[oby Ziagler

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irreuularly shaped, thanks to custom-made names=such
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User Group
The ,M'usee d'art eontemporafn de M'o,:n:il;.r1e:a1 op ens. three solo exhibitions of international female

one' of the htghli.gh ts of the hast British An Show. Day-to-day ttems=muos,
whisks;

and turntables=-are bathe d in loud electro beats and! sexualized

multimedia artists ion, February 2~running
through Apr.H ,22. G.]Jlsdl:aAmer

presents a suite of'

by the intense, caressinq gaze of the camera. Thi s month, the

her most important works, curated by the scholar

Tllerese St-Gelais, a
specia Ust in gender st udies, Wange,chi ,M'u"&u~sinstallation Moth Girls ~20 0~

London -based artist its. having her Largest exhibition to date at the Baltic 'Ce·ntre· fOl' Co,ntemporary AJt~ on view from February 3: th rough May .2'7- Price explores desire power, and consumpticn. often using ruined or neqlected objects to convey H. strange and seductive atmosphere
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reeen Uy acquired by the museum, wil] also be 011
display; And two g.alleri,es 'win be given over to the hometown talent 'Valerie Btass, whose momentous

exola I.J!.J!JI. ..," '8 eltt c to curator of o''!;ik ibi tl' on rQ'~-'A'lea san {J!.J!. Vincent,I 0lTI ~ ns .dL 111 .... . Jl.. \...1,' 'VAJ!.llll '!O:ioO.u . ,nlI II . \;:;. ci Jlll.
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the gallery 'wHlbe demarcated into discrete spaces. OJ chambers relating' to the 'ideas in each piece," In addition to User ,Group Disco, Price is showing' her latest piece; West Hindel: 2012~wh.ich features the submerqed wreck of a,shippinq container tull to the brim
80

sculptures 'teeter b etween Classical figuration and
Dadaist hodgepodge, utilizing techniques that bring "animal souls onto the, body," ,according

with 'brand -new luxury cars. Also 'included ere the' ftrst two Pt]Jts of ,Ch():i~,20 11~

along with the never -betore -shown conclusion, which explores the notion ot the erchive+Irom pnotouraphs of hturqi cal arcnnecture and YouTub e videos to official recordinus of a notonous ftre. ~~ Each of thea e archives is us ed in each part of the 'film to construe t the elements of a drama, says Price. ,~~ interested in the di'gilital as I am an exponentially expanding repository 0'1imaqes, and in 'the thee EII:Zartle,tlh 'Pri,ce St i III from C'hOk ,(Ports rtst Fnedrich 'Kittler' s th esis that such a rep osttor y is ,8. given
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PR~V,ATE VIEW

and selt-Indulqent, says :El]en Harvey of her series "The Nudist Museum Gift Shop." the centerpiece of 'her show at the Dodge Gallery, opening February 23., ,jAs a child, I always loved goln,g to museums because of the nuduv I was very fond of'naked people." 'I'he show features dozens of paintings of decorative consumer objects that are ornamented with nudes ..such as a penknife accented with, naked women ..as well as a number of works that re-create every nude postcard available at a museum gift shop in New' York City's 'five boroughs. Harvey's exhibition also
~TH~S IS VERY MAD
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includes The Nudist Museum, 2010, which began as a commission for t118 Bass Museum, in Miami, For that the artist rendered her own versions of the 54 paintings in the Bassi's collection], cropping

and zeroing in on, the nauqhty bits. The paintings are arrayed on a backg:round wallpapered with mass-media images of nudes. "I wanted something- that keeps the element of seduction." Harvey says. ,jIthink people take the nude for g-ranted.
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IEI.en Itcu:y,ey The ,,..,ludisf M'useurn.

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C'LOSE-U:
in Antwerp, Be gium, says good-bye to the curator Dieter Roelstraete, who assumes his new FlO.1 as t e e th senior curator a the MC,A Chicago this month, After l4 years ,as the curator of photography at the Los An, g0"11 C'" unt y M' lus'oum'''' of' o Art, Tim Wrid,e will move to the Norton Museum of Art, in 'West Palm Beach, where he will hold
lVIUHKA,
: : > ::, ,

T'he painter Neil Jeonley is now

Noah HOlro"'"itz" the OO'I'meF' ireetor d of. the, V IF onli ne art fa.ir a. nd
the a urtJlor of A:r~ ot the Decl:
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represented exclusively by' Gagosian Gallery; Yoshftomo Nat-a has. inked up 'with the Pace Gallery, which wili ded icate 'ts A,DAA fair booth 'to 'his drawings, in, March; and Team Gallery, in New York, has scooped up Alex Bag. Carol Bove is now co-represented by Maccarone and David Zwirner, while Lehmann Maupin has taken 1011 Mar'y Corse, who MIl open a show of new works there on the .2'nd of February,

Fi nancia.l Ma rket, has been
appointed the managing director of th.is year's Armory rSh,ow'" which
8,. -Iames Chad Hanna ca.ught up
0']) eng

in New 'Yo!'k on March

with, Horowitz to talk. about the Armory's new' approach,
Wi II Flrieze's ne'w eelIUon in New' York affect the ,Armory Show?'

C ompetition, brings out the best
in people, Several years ago~ :FIAC was considered a. regional French art fair. But Frieze 's increasi ng imp ortanee ]11 London ihl'ced the

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bas moved east to. Bethnal Green, The gallery, which has. a, space in Pads as well, .is now called CamrpoU. Presti, after its owners, E:mannela 'COIq) I)U and Gil Presti. The new rugs ,occupy wha~was illo,rmeriy "folfg&n,g Tillmans's studio, near neighboring

r... Gallery in London ane

managers and directors. of' FIAC to really think on their fe{a't-=-an:d the changes they made put them in a more ,3t tr a.. ti ve po sirion. TIle e Armory this ye'ar win be radically different f:rom what we've had in. the past. Wei'rre turning away from the bigger-i s better mentality that pervades 8.'0 many art fairs these
=

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galleries Hotel, Herald Street, and Maureen Paley, This
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fair. In our main section there 'will b H t1bout 100 galleries ~ 8, re duction 0;[ around .5.0 from Iast year, For this first '~ime we 've enga ged an architecture firm, Bade Stageberg
'00take a critical look at the flo o,r' plau ,8.nd afford galleries more space to breathe. And to give v isitors a more
Cox, of Brooklyn

month features ~ 'Dormitorio pubblico," a show' held
concurrently in London and

h istoric , taJ ian. pam ntings with work 'ii!..I\! h contemnorarv :;i lUJ" 1Ir~~~ ~·v ,~~ Paris
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"For the first time ~we'll ha ve a substantial a. rea devoted to our' cnllection," says E]iz.a,beth. An.ll Maegr,e:go.r', the director of the Mu's,eIl1m of Contem ,U'l" ar:y Art. ]11 Sydney, of' the institution's expansion byapproximately 5.0 percent. Designed ]n 'the, 19 3.0 s but not buih; until. the 508, the J\i.l(~Ais being rerno deled by the AU8 ti-alian arehi teet Sam 'Matrshal]. 1t will re O:P'f3 n its doors 011. March 31 ViI ith an exhibition enti tled "Ma rki ng Time" eh ,8J_ to WI,·11' IDCJlUu.H war k ,S' b'.' T'c,'t SUO ,', '. lY_,_,'am-: a. 8. D.'d K" a."t"JlH "~ ~'I ,_;']" ',' M" . tl] "i'I' "', " ,'y tl, 'I ',',,
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'V:P}ve introduced ,A,frllOry FHm~ to be CO cur ated by E dward inklernan and M urat 0rozn b ekov from the Moving Image fair, We're

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Macgregor explains, '~'!le focused, on building are .. a co11 .. ection ofAt ',us, ra 1· n art . from th ,e paat 10" .ra ,years. 'hle ,flre about w'hat artists, a:}}eprnducing' now."
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also working with Jacob F,a"bI'],ciu8 of M8!Imo Konsthall, Sweden, to curate the Nordic sec tion of the fair, The re is, a Iot of great, eritieally engaged

'work corning out of that region-> which is a. rea lly nice antidote to
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CHRIS BURDEN BOU·GRT advert.ising

Bonnie Sherk planeed herself near a freeway off-ramp in San Francisco. 1'lerry Fox set fire to a flower bed. It W'aLS the early 1970s, and. C alifoenia
on television. was a sta te fun of artist s bill.t short 011 aigrrifica n t commercial gallery infrastr ucture, Lacking one tradi tional wav of presen ti n 01 th work arti sts ~ ~.~ -_" ~~v~~1J.... ._[~ hi t upon a nether ex hi bition strategy: They pursued audiences outside the art scene" Their amhitinn 'was to have a general impact, rather than to' have a 11. effect only on ,t.beart world. 'I'his approach suffuses the exhibitions
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and that there are alternati ves to toda V':8 . ... m arket- driven di seribution Sytf5'tHID. Noneommerci alism is a thread tha t rtms through dozens 01 the PST' S]10WS., ]t'B pa.rticular]y evident in ~~ tate of Mind,;, S New California .Alli~t Circa 1970j'~.a surveyof coneeptualiam that debuted at Ute Orange County Mu.seum ,0,( Art and 0.1]9118 at the Berkeley Art Museum this month ..More
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sta tions, ][11 one ad, he showed Throeg h the Night Sf)f~·ly~ 197,3" a perfibrln~UllDe piece in which he slithered across glass. In 1976 Burden bought 45 TV-commercial spots. a nd then aired an advertisement in 'which he appeare d.as part of an ani mated. list of art.ists that included. Pablo Picassc and

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th th 'l!-., __a.u ,any O_ . .i0r PST'"S.!i.,'OW~. ~":S'1t ~ 0,·f-' M-' -" _al~e lUu: reveal s '[hat the presenta tiQr~method tha t a rt.ists devised. to is hare their efforts with the public was Just as important
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Leonardo da Vi nci, 'I'he San Fra ncisco-based artist Bonnie Sherk wa s intere ste d. in having an, effect on, her c]-ty~ p~r'tJicular]bl in the
urb an spaces, In an effort to' reach an audience that doesn't usuafly seek out art", she created mst allations and 18fUnell€ d events in the most public places she could find,
way it considere dland conetructed

that make up Pacific Standard Time, the: J. Paul 'Getty 'I'rust- funded series.
throughout Southern California -t]lat np ened in the fall, W]1:Bethe showswere biU.ed as providi ng revisionis t chapters in
;I., ,[1T Id·W POS't;-v\' ona war

(]' ,rn"e:rlC,9.nart t ·lk '. t ory-, A ,"' ms

and they do=many of' them speak directly to today's arti sts 1)),demonstrating

any other element of the 'work. How different was the approach 'that California-based artists took during (he Vietnam era, from today's mar ket- centric art world, which is. domina ted tJY big art fairs, big corn mercial g.a]]'el"i'es and big public relations firm 81' T:o attrac't puhlie consideration, Chris Burden dlidl{t paint his na me on. ca wases e. nd put them in a Chelsea ga llery: he boug ht eomm ercial
88
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For Portable Park II 1970~she installed a palm tree by the freeway off-ramp on
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the corner of M:ission.:~Otis" and Duboce
then 'In-·1' ted C alifor: m D·iPIfiIl- ar en t ~p v u· J1..1. uJL 'Transportation officials to the unveiling ,ofher artwork, and her documentation show's a Ca ltrans official petting the head
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streets and tied a cal f to it, thus injecting a little country into the city. Sherk
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tha tar t doe sn't a lways need a mar ket

time 'On SOlI them California television

presaged the design group Rebar's recent initia tive to turn empty parking spaces into sm e,]TI urban ,'a -.' s~ an . intervention model,!L park. it ~ .,!D<-,!L .. UiJu '!' ...U, tha t was co plied in, dozens of citie s, No artwork speaks to' the potential of the present moment-s-in terms of protest and. civil disobedience and as an a.It e',rna ti ve ·tc the predominance of commerce in today's art Sl~el'l!,e-a much s as T'erry Fox's Detoliat·ionl' documentation of which 'i s pre is ented in ~~S;~ of Mind .. 3te :;1l~ performs d. Defo,Uati-on on March 17'.~ 'ox ].9 70, outside a eonverted powen plant ,0 n the ·University of California, Berkeley ea rnpus, which was then being used. as a temporary home for the Berkeley Ar.t Museum, The piece consisted of Fox using
lIl. JL.. . ... '!;:;il ., 'Ul',· .

'0':£ the calf, Her ins tallations

a ·U.S., military-style

flamethrower

to

burn a bed of jasmine plants in front of the 'building. ~'.E'vel:yone Iike s to watch fi res," Fax toldthe artist, curator, and publisher Willoughby Sharp, "But at a certain point, people realized w·h~t was going on, S udderrly everyone was quiet, One woman er'ied for .20 minutes It 'was 't]le same thing that they were doing in Vietnamburnmg fluwers they like, to sit nea r," As exhibition curator Constance ]VllL Lewallen notes ill her es s.sy i11L the "S't,~1 B of' Mind" catalogue, Det()lia~'iO'n was performe dl in front of a "large 7 Ul1S uspecting" audience. The artist' IS intent wa s fur the 'work to reach a. public

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beyond his fellow artist s and friends. In ehe context of the prote sts aga inst 'the Vietnam War, D1efo.u'at:ion preceded the infamous Kent State inciden t by six weeks and then Pre sident Rich,ar,d. ,Nixon;:S Commission on Cam.puB. Llnrest, Or ·the S era n~on ,CO]]]l mission-vwhichwas directed to study campus prote sts and the violent response to theln.~by three months. The next year, Vietnam veterans w'ould, cast some 700 medals onto the steps of theU ~ 'C,api"toL SIt's impossible to definitrvely point to DI,efo,l.i.a,tio.n as a catalyst that motivated other proee sts or the fulcrum eha t led to more antiwa r action ~But beca use Fox took his work to an .audience of' people ou tside the art \vorld he gave it the opportunity to play a role in centribucing to the growing an tiwar consciousness .~." A--' d·' did a'lld agl'~,attJ]~u.~l]:, .t. JiUl.. n
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the United States is engaged in military or related action in ~raq,
~~dlay"

Pakistan ~and Afghanistan. 'Western economic So are in almos t uniformly po or shape, and the Occupy '~r all Street

movement 1LSlS successfully given V,O,]lC e eo the extent to which the middle class
is shrinlriug and the degree ~o which an extremely small elite controls a preposterously disprop ortionate share of our wealth-c-an estimated 410 percent, (According b) the econom ist -Joseph E" 8t.Jlg]i.tz, .25; years ago the top 12 percent

controlled 3..3 percent of' ·U.,8 .. wealth.) Thanks in. large part '~O the energy
created 'by the 'O'ClCU.py Wall Street demon-

strations, this appears to' he a moment
'when aetists could. ,re,engage ~i']'th

ell rls_Burden
S,tilill from a
p-8Irfofr'lf'liCllfM)e,

approaches
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to artrnaki ng that target audiences '\Vho aren't already art converte dL ;;:; rk A- fascin ating q,£:i, the 'nr ..... hy Bu rdsn Y'IG., Sherk, and Fox are, perhaps the be st example of a multidisciplinary artwork armed at a broad audience in. the P;ST exhi bi lions is Suzanne Laey' s ra pe.lL,-

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Irvo ugh the Night Soff1v" Se pt,e,m ber 12. , 973, 1611nm ffilm"
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IBQLllflle IIIelk PhQitOglFd ~h ot

,Portable Park II; 1970.

awareness magnum opus, Three Weeks "in

Ma;y~ 19r;7. When. Lacy made this piece,
r,8i e was an unde~rep Of ted crime ~one p t hat was ,o:ft~ndismissed a s a serious
by the male-dominated civic po\-ver' struet ure, In California, for example, marital r.a pie,was then ]e,g.al" as it was in mDS t states. On t'W,{D, Ia rge maps installe d just outside the Los, Angeles ;City Hall mall, Lacy stenci led the word llA IlE at the Ioeations where sexual attacks were reported to have eccurred during three
concern

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weeks in May 1971'~ ereatmg 8, visual record of terror to 0 powerful to ignere. (Evidence that a rt not meant fo'Y' the art wor ~dl8till has a n aesthetic im pact: One of Lacy' s map s, instafled in. the 'M use'um, 0f C·"'1 t elnporBlllf'y:r t's ~~U . A' --on .-nUlle:r the Big' Black Sun" exhibi non" feels like at forerunner of Mark Bradford's work ..)Lacy also ma de UDU sua By direct 8 tree,t ar t by marking corners near sites where rapes were reported tJ10S direct]y confronting passing Angelenos wi th what had
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happened there, a dlata,·d:riven version ,o.f Francisco de Goy.tJ1' is famous YO [0 vi. Lacy's project lila kes today' s third generation" art- WOI']d· speaks ~ the- arttoworld stnain of relational aesthetics look pretty 8In~]L Three Weie'ks :in .May Iikely made a difference when it was created, Here's hoping that it continues to make at difference in ways that Lacy m ight not ha ve ini tiaJlly intended: a s a. reminder to. today's artists of 11Dw ambi tion ea 11. equal lasting impact, M P
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2101 ,2, 'Trielnln'iall, February 1'lS,,---Ap'ril 2,0'12, 22,

'. I' II.. I • , U ' ,.,.J ,f'!!" _ ,uew M u.~,e!um,T' . ','_ nenl11lJ.aM,llS tne ,D,iITlli"j n~c;lLu·i!'IIT!ltg eJ( hi b" _'I ',l:t](H1J lint h e,f!lJlI)Eh.l~taites l'h'E' N de'Vro't~d '[Q presenting you ng artists ~ro'im,~,roUJn"Idi globfJ'" "The lIn,§tDvernI8,b!le's!1 the' w ~ l 'fe at u re th irty -fo ur mrtis t B air'!d c 0 ~h~c t ilie s, 'to't,a ~in g O'\lS r fi 'fty P a r'ti e ip ants, ~ rna ni'y of w h D,m have n IQve r b@fo,re '9'1( ib ito d il n t !'irIS U5 •.~ ,~F!I is'X( tl ib it hQ n ;a'b G ut h tis t~e urgencies of a g,eneration who came of D,geafterthe independence and

revol ~tic nary m ofvem ent s of the, 19'808 an d 1910s, Threu g'h b~th mate ria ls an d fo r m works inclu d ed l~n~~Tie U llil go,vern ab les" e~plc re 'i m perm sne iI1 t e and an h ,e 111ft an d futu Fie en gag;emls'llilit with th@ pn!!:6i
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/J': , SO'~h J 0 nath aJ,S de ,An d r.~d9 M'inaml Ap;a:ng

MCdU In ira

CAMP
JuLLa. Dault Aba gal l, ro eV iI Us Iiau S'9 D,f IN,B t ural Fi b e r

D,f::),\j!e' Me t(.S'IIi12; ie N ~IC0 la s IParis 80lID a Parllt Galry -Ros s I~ast rana pirate h.ay,a, Ph Ii fIl th 0 ng ,A'maUa Pi ca 11: ta Po nee de LSI,tj11il i

Maria'lila TeUer'Da, W'u'Ts8ng Jig s;e A nt"Dn i0 Y'e ga

M acotela

Adl~f,~n Vii U aJln" Ro,~a s

IiIIlJ Xlaoy ~a n ~nv f sl b La 113:0 rders Ha s ss n
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'he' Pro I:N3 lle r Bra UI P Public MOVBmEtnt C3!.a~r iE!'[ S ierra
Ra,yya n e Ta bet. S lavs ill n d Tat airs, P n.vT 10 k a.h~.

[lla.nh Vb K emlan i!S We. Le h u I.e fIe' l;y 11!@rttI9' 'Yii ado m - Bo 8 k.ye A~~ Y'-olwnis

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Kit Lee C~lIl!1tlhi M arce ll e a

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TI-IIS PIE CE COM~S FRO~(

a body ofwork

called "Snoopy Vs The Red Baron,' which ta kes its. title from, a pop' song hy the ,Florida ~ based. group the Royal Guardsmen

The hand released the single in 1 ~just 9'6,6 weeks a fter .he Baron's. flrat ,3ppearanee in, the Charles M" Schulz carte OoD Peanuts. The song was a hit, and Snoopy slued them,
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spent a,kmg time trying to find. the sheet music for 'i t and realized it was not in the public domain, a residue of the legal action. Baron Manfred, von Riehthofen, a .k.a the 'Re d Baron, was the G'etll]].an ace of aces

of the First World War; he shot down more of the Allies than any other' ,Iigh ter pilot, HiSo own descriptions of'his :8 0. kills reveal a. sinister pleasure, The Red 'Baron was :myt.]lo]o,gl.zed in his. own Iifetime and, was
the subject of many 'books and films" To Snoo:ply~he is all. idealized rep,resentau'fil'J. of

fear, The Baron is never actually present in Schulz's cartoon; Snoopy, wearing flying goggles, scarftrailing behind, is obsessed

with killing him but also 'wants. to become him, 'The idleas.of the hero and the antihero
merge, In the center of the dlrarwin,g'is
8.l1.

interpretation ofthe von Richtho ten. family crest ..At its be a rt is a fam ili a r form" almos t certainly Snoopy, W ho is known to' us as a. couple of squiggles, totemic, utterly
re Cffiuc'ed." almos t a sign or a let ter, In addition to 'being a cartoon beagle, at philosopher; ,8 nd a fiyin,g' ace, Snoopy is also

an

.' '. aUj,p'l.flng

'C

[~ 'gres:t nove l' tnT_][' IS a canme 1S ,.' J.-~£~
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. ho genrus wno can encansulate our anxieti encapsu ate anxienes with, extra -mortal purity. He is literally

dumb-never speaks or woofs but transmits his, thoughts typogrS!phi'iCa]ly~ ·throUg]l thought bubbles. The only exception is. his "literary masterwo rk ,'"which appears from his, rooftop typewriter in small sni ppets ~ [spread throug bout the years of the cartoon.
The background text on The Complete Text of Snoopy 8 Novel; Filed :Und'er Greatness (2) R'eadi'ng (7), is the entire text of Snoop:y;s nove], spliced together to make an ahsurdist parody of Iiterary hubris: at no-vel d.e's,'tt']lledl 'to be forever unf ni shed. Indeed, years after he, began his magnum opus ~Snoopy received a letter from ]11S would-be publisher, It read; "Dear Contributor: 'We are returrring your stupid story. 'Give upl You are a,t,errible writer. Why do you, bother us? We wouldn't 'Use "d us D dl cl on.e 0 f'·your's tori l' you pa:a..._ ~,- rop .' ea,-.l' -Of.lH8 if

rM€ C'om.p~~'t~' Text of Snoopy-'s Nove'l: Ffled Under GffiatneS$ (2) .rrleading Ci)., .20] ~.
Indio iinlkon '~uo rescent pap e r. 30 x: AHJ in.

Never send

UlS

another story! 'Ge't lost!

Signe,d, the Editors .,:~~ MP
Fiona B',anner's work will be on view at 1301PE', in Los Angeles~ front March If) through April 28"

s

rl
T,HE HARIA~~M:EUILnING~ an

o]d firehouse, \I\:r:asthe p erfect place to S'ho\VCaJ:H~ 3.,1'] N Wa,rd!"sassemblage of abandoned baby
ca.rriage s. He'd be en collecting them in the neigh borhood in order to turn them, a long with lengths of fire hose, into a sen lptural ins tal.latio n, Afteir' that exhihi tion in,

l piace, It~ mteres 't' ,8 - t 'lng'

see 'Ith e ch ange, ,I. Ward now' works in the fro,:nt room , an d li ]Ve'8m tlh e b I wit h hi .fami"1 ~ac{ .. )1 I.C18 y~ Durin g' our VI" '''"~ " a lov ely ""ofli m fts a..JI.,
;1\-,..... '11!.\Ji H
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tll€- authority, the power" Look: Wej're taller, we're bigger," W ard says. He in tends

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199.5,~ atarted renting the space and he later bought it. "There was no water or heat," hie says. "Wegot the electricity from 'the church next door, Keep, in mind this, wa s when the city was trying to get people to buy 'these bui ldin gs for a della r with the, impetus that you would live here" This. '~1a.8 at whole different t.ime and
, '2_

through the studio=Baraek Obama il1CtH1LsJe ~ Ward tells, us. He is it'! the process of hrainstnrrning for a March show at the Lehmann Maupin, Gallery on the Lowe lh'"'
Sidle, in New' York. Against the cultural backdrop of 'OICCU p'y Wall Street, he's been thinking a great deal about the
ERS:[

one such 'platform using offbeat m a. eerials inclu ding plastic tarps (omnipresent dl ri 11,g the eneam p'u
to build a versio n of
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ment in Zueeotti Park,

h1L

Manhattan's

financial district) and Iaser pointers. "Making it look elegant and funky
at the, same time-v that's kind of my goal and wr what rnv a estheticLIS," -- ,::' ,AI, expl it D'':;; my aes .., 1' he ai . is. a,LJI.,· "I wan t ,to 'braid hair~'from, African ~ American to blond, gray to white--ca braid of nair that's going to float to 'the ground, almost as if sorneone's lln the tower, like a lairy 'tale
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police=specifically the oddly sci-fi-Iooking "tactical pla tforms" used by law enforcement to literally tower over a crowd, "I t'8 that old- school m etaphor of 'We ha ve
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S SEED
but at'
u p"

o clfucl1ixii,oril, lr's obcut potent'iia ~itv"Tners ":S 01111 tying down thls irs try iIfIlglto spiring
th ~ :8,0 rns ~'ilme

SHINE "Thls iis;Imy' valrs; lon o.f

crutch, fhere'sc valiniill1l th e rnid d I'e,-there" s so rrurch ln there. lt's SI=) royed with sl Iverrpo ~lnt,lhe p lI@ce, ho d to be c~,alrged, ~

~rs odie of 01 m

~

A S,CUlPTURE

fROM' '~A,LlS,TAR,SO" "For me, 1'1' was obout ref'€llrsrile I tJiI'g cotto n p iicki ng, but ,~II so 't~alt I could corn bl ne something deolling 'with vic Ie~ ce+th is, \:vith heall IIn g. whlic h I did was diip 'the cotton inte ~s,IWI,ga Ilii d ra 't1Ml n Ii ron and burn s
'the ed ges. ~wos su bDIU)gdtt~f1lg'Rn'e ell u b. ~t b scome ~ riit U!OIirzed his II ob jlecr fo r lillie, 'gii'Ving it some PO\i\l8Ir. ~
vVClS, cotton,

p mi I C IlUIb-wii~h !rno sornet hli ng d ea Iiing 'W'hat

(3 TAXIDERM~ED

FOX WITH AFRO 'WIG, 'AIL~tN,AMID' AFTER

,CORNEL WEST '"II go-t Cornel on e Boy. The sell,e,r 'Wns. iin Ph i 110del ph 101. II w,e'lillt to 'this. w'9~li'dsuburbon nel ghlbor~ood 'to, pick lt up. There wos this esrote salle or sorneth i I! g" The, who Ie plo ce We! S ronsoo ke d. and th is guy 'Was on his computer IIOQlk ifIII'g 01111cOrtfe i not,e d or dru ggle,d up. I we s IIke, 'Give, me the fo-x! The taxi is we ittlin9 ~'lFor 01 wh ~~@ I we s klinodi of stu c k all! d hod 0 III
this onxletv 0 bo ut my tehrnonn MlolJP~n sh ow. Or; cos' I ,got this

@

DRAWN ... N O

BASKETBALL CARDS "I iii! egcte eve ryth iiI!gIi no ILQ d~ tIlg the bOIIIeJi;c8 pt t'h,e, Ipllaye,rr',s' ho nds en d heeds. lit

fox, I kn f!!NI/ wh a1" I wa s gloil n'g ito do. Iitts fru 1'1 i the moscot. ,t~Is great, CUI rm ~ Ii'ilglpresen ce that doesn't make ,any rea I sen se ot ol ~"

(3 'RUM
Co I'

.... ~""" -i!lI'"om ...-.."'111''0_J' ~,=,II This ·Ie U Y1 ..... =;' I did i nOubo _Icolleoted ru ml bottles, ond thelfil l'd g:o 0 long the, beooh on d
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BOTTLE,S

pick up Ollfiryth ~lfiIglthat
WO,S

else. There's sorn e really

sima II elfiloug hi ,to put Inero thelM, I toun d more bu llets tho n ,anytlh ingl

'wihel! ~n n lsh ecc h co rd that feells rs·oIllY nioe, Cd nd t hen I till,e, fih,e,ml or q ~ Utt helm t,oge-t-her into- a ,glrid ,,'"

ecce ntu at'9 s "the g'8 stu Ire" ~r.srned Ittarrlve" IIg €,t iinto OIF!othe r WOII'lei when l'm ck~,iiF! g n. II~ke.lhelrapy" T~~re's o sen se -of corn p I etion

she Ifilg'~ stuff: sc I'~'WS.

ru bber be Iloons. 00 rds, bottertes. pllas-Uc flowelfs-

n'

Reyka VlJdk~; 40% .AlcNlt (80 !ProD'f] Distil'Led rrom grain. '©2~1~ Witllam Grant & Sons. N·~w YCn'",k, NV~ 1 i!!:Awan:h~d Irller"ul~'i,o'nJa Wirlie lil.!fiid Spi(ts CO'l!ltpetUiion's 20i11 V'o,dka 'J'rophy

Enjoy t'he crisp, cwan smooth 'taste: Try Frleyka on the rocks w·th 2 drops ,of any flavored td ters .. Please drink. R.ey,ka respolnsibLy..Takk~ lthat's Thank you in lcelandiel
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WWWiREYKAiCDM

sanford smith's 20th anniversary

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• fri 11am - 8pm sat 11am - 7pm sun 11am - 6pm
$20 admissien :$35 two-d.ay pass ca'fe catallog

7 west 34th

street

@

5th

avenue

preview january 26 6:30 - 9pm $35
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20TH ANNI'VERSARY PROGRAMS:
EL MUSIEO DELI BARRIO:: January 28
Panel discussion on the exhibitian Iestimonios. ,ID!D years of popular' expression',

on view at EI MuseD thrnugh May, 20'12
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COl,LECT'IIIO!N IDlE, LIART BRIUT:: January 28-29
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Con'versations '& FUm Screenings With Sarah [Lombardi, Director, Collection de I~A.rt Brut

Organized and moderated by V'a~erie Rousseau
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FOUNDAT'ION IF'OR SELF -,'TAUGIHT ,AR'TISTS: January 29
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Incorporating Selt-laught Artists into Art History tecture by Cara Zilmmerman, Executi've Director

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AIMERJCAN FOLK ART MUSEUIM: January 29
20th Allniversary presentation of Uncommon' A.rtis.ts lecture series, organized by Lee Kogan American Folk Art Museum, 2 Lincoln Square

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for times and information vlsil

www.sanfordsmith .. om c

FII M

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The Dcrdenne brothers explore the hard,.. nock llfe k
GRAHAM FULLER
111:RO,TI'IE- 10-(::! , J!1i ~ ~. _.~P Jt.'~=.J' J1.'\--d TIIE- I J.::...~._. ~ = ~l.~ A' J'~A"'"N:··' f'~R1P.!'E_!. "

and L' Dardenne make harrowing hurt unfailingly eom passionate realist dI":81.1na8 about dispossessed strugglers-e-in most cases, yau:n.g a. nd unfcemed-vthat turn into quests for moral redemption and spiritual salvation. These punishing; revela tory j ourney s, unleavened by humor or romance, generally unfold on alienating and brutali zing terrains: a blighted postindustrial Europe of faceless housing tracts, sterile, mstitutional buildings" and dank streets that in 2008's Loma'e
QJ~-~:"' _

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unyielding urban. Iandsea pe 1 their agita ted movements-s-eaptured by the Dardennes's cinema tographer, Main Mareoen, in long takes and with the ftEHI,u.ent use of shaky handheld close-ups=-settle into ,8. rhythm tha t lends the films a poetic, if never lyrical quality. Lorna ~81 Silen. c:e ~sem ething

discovers that his father is working as a cook in a new establishment. A ]OErt

sou] gmping lor survival, he tolera tes ,Cyril briefly before 'telling him to Ieave
and. to never come back=en act of such eallou sness it makes the viewer flinch. !~'C'J1Tilis always searching fj)r-love~ on foot and on the bike, All IDS energy is devotedu!. to . tha ,j Luc ;.;.~l:lI.~ ''l1:n''el''li he' Q ~.-11 II!.__ Illr. ~,II!.,j. \1''1( l.iL.' .E:, hildng to Samantha after trying' to give his father money ~that take is very ]Oltg because it parallels th,e movemen in his head, His
: _ 'i,i' .• ,;I!I ~.
,!:,,'G ,,!1,

of' ~'D experiment for-the brothers, even dipped its 'toe into magical reaJiS1TI. Lorna' 8
mys terious pregnancy and the meticulous carpen tty scenes. in The' SDn evoke associations with Christian mythology.

D

of a, coldhearted Alba11.121.11. immigra nt (Arta Dobroshi) 'who enters into a sham Ina rri age with a junkie (the Dardenne regular J'e:re'mie Renier) in erder to get B elgian eitizenship-c-take on a,disstory

sae'nce~'the

Rosetta and L ~E'nlartteach won the Palms d'Or, the Cannes Film Festival's top prize, The latest Dardenne film The Kid with a Bike~ won the Grand Prix au JOUit'" at Cannes Iast May. I ts abiding image is
of an unsmiling, motherle SIS preadole 8C€11.t, Cyril (Thomas, Doret), furiously pedaling

pedaling is analogous to' his realiza ti,on

that he's COining out ofthe dynamic with
his father and entering into one with Samantha, He's finally wnrking things out," Ul'lllike most of the Dardennes's features, The Kid with a Bike is not contextualized by poverty and exploitatio a,

tineti vely neirish com plex ion, Jean- Pierre, 60~and Luc, 5"7"currently

shoot all of their films in 'th,@. Frenchspeaking municipality of Seraing, in the' province of ,Li'e,g'@" Wh'@1"8 they were
born and raised, M[e.r making some 60 documentaries, ,BOIne of them, partly staged, they turned to features, beginning with Falsch, 19'87 and Je pense a V{)[i,;5',! l~)9',2 ~ both fail ures and seldom revived today. However, with La Promesse, i 996-==-,abou t a youth (Renierj who takes care of the wife and the, child of a, dead African- nnmigrant tenant of his exploitative father-e-they embarked on, a run of six, uncompromising films that dredge up hope out of a, mora ss of social and. in terpersonal iniq uity ~
if.

his bicycle as he looks .for his father (Renier again), who has abandoned him to a staterun, orphanage, M.'@'rcifully an unmarried hairdresser, Samantha (Cecile de France),
l'

Although eyrir s father has clearly suffered hard times, this film doesn't depict a world of ille gal im migra tion and sleazy en trepreneurshi p. The only
·lo '!L!!
oCti {"j,1,-

to adopt him" Her maternal love go h'it" m springs f·...........heir fiof'i';; der ""... U ,,:::'. m . Jbl • nrrr D'I. . r ,;::;D' .ror ··Q.,oJl:..l ·1-i' ..iL-.I!UlJL'Ji.I!J..W ·1 first meeting, when the b~,yknocks her down on. the floor 0]' a doctor;' s office (a, scene the perfectionist Dardsrmes filmed 18 times). ';;'C'~ was b h '.•. 'yrrl norn froma 8tory th at was told to us in -Iapan," J ean-Pierre said, in a joint interview with Lne last O\~,tober, w hen "The Kid' with a Bike was shown
'wa11lts
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The dud; s prota\goniB't s include~ an 18~year-oldlkrwer-elass woman (Emilje
Dequenne) desperate to normalize her life by getting B! job, in ,R'rJs€'~~'a, 199'9,:a, middle-aged carp en ter (Olivier Gourmet) who hires the 'beenag,e ·boy Whf~
~_

at the, New York Film Festival. "When we, were promoting The Son there, we met, a youth judge who had. worked with a boy
in, an orphanage whose father had told. him 'he would Dome back :for hnn, a nd be wai te d and wai te dland wai te d, burt he never did, That made UiS think," T,he mor,al o~mpl,exity o,f Cyrirs Isituation

lnll].:!'dQr~dl :ll·~Po,.·"n- l'"n ~ ''"~ S:'cl'1ltH h 0 ~ ~,' ~_~ _bV_~ ~ "Tl'jI~_~ . urtl:f

2,,0·O.'. 2·"',,. ~gn'nd ~
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spok,~to th~ D,(lrdennes:;

Vii" hOIS'~

cbar,actel"rS

a 2;Q.-year- old man (Re:nier) '\vho s'ellg, "Ills,bahy, in L jEnfan,t~ ,2005., i.\.s these characters. tr:aVB'] relen tJe8sly through. the

iuvaria·hly have to dis tinguishhetween good[ and, bad. choice&=~anc1of~en cboos'e 'wrongly. {"He ]8 g, child who i8 v]!olent/' J e'an -P]erre continue d, ~"a d 'w'hoabsolutely n 'h ]S, •~tr '.Iller .t~ I hO' ].,p..iL... Wal1.I~S..O f· t'lk .ove • ]:01. - is I~.I[JJS
,jl.

v"iO]'@Jfl,cC'..e

,goLng to he assua,ged through

Jea t1=Piiern?and luUlc lDo Ifdenn 9'.,
O~j}.OS!TE:

St11 IIs 'flH)m The Kid
with

a mke, 2~J]1.

35 m ml Wi Imi. 87 m,in '.

a ·woman he Ineets in., a '\vaitin,g ~OOlnin a medica] offioe?' How' mHo she adopt him,~ and ho\v '\-'ViII e ,8!'ccept being ad_op'tedl? Ho\;v h CRn :he find '\vh}81 tone s'bouldl never lose- as ,at chil.d-i.nuoc',ence and ,tbe ,~el"ta]nty of lo'l! . Ui. 1""",; .... m1 S "'" ~e611ii~ •. 1,-oiAI,·t be;ln- .,g ..'.y "'e... _i,J'J ,~ o....•.... 6rt.'n·n/}' 'ILl. ~-.; ""JLGtJli. .I.l'y .ilJl'!U ,going to he easy tor him to ,accep:t ,the love of th]8 woma,n-th,aes his cha11enge'.'~~ Before Cyri] ,even attelnpts to ,yie.Jd, to Samantha1.s IU(Jtt.herly affection, 'he
iJ11

character who'll do anything to make 81 ~ be n q_'1L1; ck . '.eu'P.rt. .;; ""t, YOU],- 'g' W, G~JLn'i!'II cri- JLDJL.LJL «Jl IJL,,"", . JL,D' 1!J..j[_1~ _ .. I.il.", aJlJ """ who dra wrs Cyril into his orbit; their rela tionshi pis that of the classic fairy- tale 'wolf and Iamb, '''Y'es '-it~ different," Lue said" "Th,e 8 economic-hardshi p factor is Iess of an iSiSue, in this. film, that's :fnI' sure. ButI have to say tha t ] never really agree,d with ehe critics who wanted! to anchor the behavior of the characters in OID'" other films in social, economic, and theological factors, I agree tha t 'they Ii we- in difficul t conditions b ut I no longer believe tha t allows or excuses a certain kind of behavior-vfor example, that of Lorna, 'who allows a ~I,..,; -,iL.. l. h J• un~e t() d· V Ie. J:.OU can say t1ill~tll,s€H~ ,an il:1J.migrant and tha.t ]if'e is hard for- h~r" 'ill. ] ,. uu t lTIOI',a_ ISS u.es are ;stronger,.' M 'Cyril 'has, a Inora] J}rice to p.aty af~r h,e's lln~,edintn crime by tl1e hoodlum,,, III a. ro'bbery atte,mpt, he knocks a, bookse]],er unojjnsciou~.t lie ma.'ke s,.an official apol{Dgy 'but "is later foUowed, ]11'[0 ,a wood by the Inan.~s vengeful son" He ·thDOWS a stone at 'Cyril when ]le sees hiI!t1 hiding: :in .a
'II' - " !i"ii ~

I'

tree; C,j11r.il lumm,e[s p
kl':ll'O;\!V

to the g'l'\(_nmn,n and,

lies there Insensate. The audienc'e doesn~'t
whether he'g Ul1consci,otls ,nr' de's.d. "-It 8ee,lneu t.oo easy f'or us '" 0 SH~W h· '_";] 1..>' h .1m giving up violen.ce and .apologizing for i t~ tllen ,going' to a harhelcue '\-vi"th Sa lna:n tha., L'ue said.,. '''He ne e,ded, to h e oonf~onte dl '\Vit]l SOlneone elsejs violence o:ne last tilne,
j~

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38

MOI~nm~N1 PAJIINmCS FEBRUARY 3012 ARiliilMlrO.CQ(M ~

although he no longer 'W,u11li,S to fight," "It' s almos t as if the l']1ythrn and! flow' of
the violence passed him 'by/'~ J ean-Pierre added, "but he's still going to be the victor. We, did hypothesize about not having him get up, beea use, he did fan from a great

height, But we couldn't do it,"
"I think 'w'ehave Pr'D ble ms wi th OlLU" lead characters. beC'SLuse we never make them die," Lue said, ,Jf.\¥ e have them go through so. many difficult things that we SBy~ 'No, 'we can't kill them after

they've been through all that.' As soon as. we conceived of the script, W~ wanted ,~1 Cyn. '-1to b08 ~LV!18 at t h enu. ' ' _ Ii -_,8 Bu t the story isn't '\vra.p'p ed U Pi SO
'j1

neatly. 'The bookseller and his son, 'who discover the fallen Cyril, cover 'up their part in 'his, ordeal with a lie" Their action.

nega te s the boekseller' s legally binding agreement to' €!XOllel"2I. te Cyri] for trying to mug hi m, Thus the film' S optimistic ending is qtralified by a whiff of t urpi tude, '''W.e were 'w(~'ITi,ed about having R group
reconciliation,' Luc said. "It was im portant that these characters stay shady,

R

I:I'OO'll"lj, ~.I _._·~.~I~Jl~Q <9

eili 11-;; on I'nV' r,:,;'vCJ'r',!["n'YIi r.:. .,~L I~ poe:" e:"'1'11; IJ':':' 1MI1u eryune sn't :' By the film's end, Cyril has. clearly
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acquired a. sense of morali tty, due less tn the fact that he' 8. been taught an ethical lesson by the eye -for- an -eye retribution ,of the book sell ]h:1!:!J 'n bee au he ba Gil.""", _,-' found and accepte d a mother "It' s because,
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he met someone who loves him," Lue .'ell":~)]1 • 1k • .' is 8J ~~ an.u recognizes .!!iiS, 1 Ha.VJln,g va _u@. I moral standards in life cernes from
'W hether

you've he en loved or- not."

The Dardennes admire the, austere Cin.Hl11 a of Robert BrHS$On and 'Ken . 'I 11• Loac h'.s SOCIareausm, a lth oug 'lk th are ntney uncom forta ble admitting to w ha t exten t,
lu.,., •

if any, they 'have been 'infhienced by those masters. Theil' own spare, jittery realist ,9.pproaeh is dictated by the hardsera b ble stories they tell, but they are not overly ineere sted in categorizing their aesthetic. '(~l on't knOV;1 if we rea n~V' hoose wha t d c we do, L'lLU; s aiel "In a certain moment, we are confronted wi t11what' s there alrea dly ~ Bu t we didn't know it ',\-VSlS already there. We try to work within that and make something of it that's as. mtereating' "to us as ]lOS sible, W,e work within our own
jj

limitations," He thought for a second, then continued. '''1wonder lif we sorn etimes work more from what we don 't know than from what 'we cllo know." MP

.,

IBOOIKS
,
,

,

,

..

Sigma,
THE PART]'CULAR CIRCU11:STANCES 'fit" an

,

.,"

.. "

.tty.
.
.:'

artist's life may !of~en'be disregarded when considering his Of.' her work [but there are times. 'when HIe 2U.'Jld. art are inextricably Iinked=-w hen an artist is caugl1l1t up in and, embraces a revolutionary movement, for ".".;. . mstance, 'Of J.oms a U t"~'P'J1an. communi '''ty., The period in the 1970s. 'when. Sigmar Polke lived with friends and, fellow artists in a commune in WUHch'j a. village ill. the Lower Rhine region of iG,et1nany, v.:rBS one such. moment, when ana.r~y' became not merely a theoretical aspiration but a wa,y of life,
j

identity into that of the group subverts the notion of authorship" which is 'the bedrock of

art history and the art market. J'ud:gin,g {min the recollections and
photographs in the book, communallife in. the farmhouse in 'Willic:h \!V,atS a, eonvivial, high- spirited! a flair" fueled. by prodigious qua ntities of drugs, in particular LSD a nd hallucinogenic mushrooms. UnUk€ ,And.jl '\Varho] in his Factory, Lange-Berndt and Rube,] point out, Polke was not "an executive director having' others carry aut his Idea s" but a eontagioualy Pl:O ductive and "porous" member of the g,OOUP'1' constantly filming a no photographing and absorbing imagery from eclectic sources, He came and went,

t
. ~,

'rAl
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'ttr·, 'tt S~g~rar., ." -, - lit-"G. ". ij'i,,~. D~llWtXlW 'olke . ..,
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This 'book examines. that eountercultural

experiment in In@styl@ and creativity during ,8, turbulent, drastically polarized perio d in

recent Germa,l1L istory. 'The primary focus ]1
is
,0011. ,8.

series of :ill.O large gouaches, ~"We

P:et.ty Bourgeoisl" painted by Polke at 'the
com mune between 1974 and ~76,'but the

pausing between travels to N B'W' York, Zurich, Mghanistan, Pakistan, Sieily, and sy ~!OI.ii:i v B a r.I',,;j] It I" ;t:l,fi .... 1&0 roms 'tl· eize thi.!liS< open
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who ~e ,:nsitor ~ i;till'CI'u,"~II,n fir 1tJ· 'Ji6 ,~, ... t-.. lIll ~~l· sts ."''" ""'Uii3' .. U'lbU the
I

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tJ...ademarks, old engra vings and. ethnographic illustrations, TV Bindcinema, and patterned wallpaper and curtains" Same o·'£"t1..le. paintings <il'II' .... ·.JI1·,E:!\Fii,..,..d[ler-],;;r '!J..J.IIL Y ~u.a:.· .. .lLJ~ even .
.!IJ.! .... 1""'10<, .. ·11.;·.11 ...11':1' O,LV 'l:l, ".0;:;;,11

discussion ra nges ~d,@ly across sociopolitical and cultural que-stions, of the ~y, , 1:1· ",2 T·Leo 'B!..""n'1_, 1'..~!the ou ..eome 'dJ[,," a ser-ies of' ,U.I",. !DJuu.fiK_ .... . i=I' .....
'!..,

OC.III

(::;L, .

three exhihi tions curated by the editors Petra Lange- Berndt and. Dietmar Rubel, at the Hamburger Kunsthalle, in 2009 and 2010 where the 10 paintings were shown together fhr 'the first time since l'S179~in. different contexts framed by multimedia mstallatiens, films" slide projections, photographs ~collages, paintings, and drawings produced collectively at the commune, A ca talogue documenting those exhibitions has already been published; this new hook, brings together the fruits of the, curators' research. True to. the sprrit of collaboration, it is a rich anthology of short ~HXt5by 30 authcrs, including close readings of each 'Of the 10 paintings, 'theoretical and critical essays of the 1970s.~, reminiscences by friends and. former participants in the commune, the artist s O'Wn'\vtitings", and historical Ye,fieetJions. by renITW'nedl PbJlke' scho]al's and others c~,rl11Cernecll mote geJ1el",ally
j 1 j j'

M artin Kippenberger, Georg Herold, 'Candida H,ofeI'} and G,Hber[ &, George, although Biee Curiget- 'writes of it in, her g,lfeetionate r€'m.iniscel'lce as "a retreat into. a sma ll universe": a Iittle fr ivolous " perhaps, a.. dislocated from "reality" nd 'The book's title was d[er1lvedlfrom an influential 19'706essay by the poet and, social theerist Hans Magnus Enzensberger, republished wit,hin~ in which he deacribes the petite bourgeoisie as, "neither the ruling nor the exploited class, but the ela ss ill between, the class left over, (h€ fl.oating

chaotic: The use of stencils and sp,ray paint in ,Giomioo for example, evokes the reckles (3, energy of agitprop and street art. O't]le~8.~ueh as Supermarkets., in which 10. s " '., ·n-,- >::!'Jllu,k"', . ,k"' ~ ~:..... Identical Sup ..... !("'j,lin, shoppers nush iII-'L ...... , W 1!J.>1.1I!eJI.l:
j,

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remainder .;~ bivalent and restlessly Am
irmova tive, it is the class that PJrlO duces and defines. cult UJ]['€, in con su 1']JJ.eTh:' 'Society: "Brand- name pro duets and advertisi ng are pr ....... ,10 of"1· ts ,-,'- .~~''UI'ou ;'!Ill);ess '" Polke ~ a.. -.' ) ...:;. v ieceions .- " -.,s consei .:,,8.. master of' caprice, am bivalence, a nd irony. His appropriation. of popular ima gery and denial of hierarchical distinctions between high a nd low art is high]y aophistieated and delTI,OCl',atic,. As hais of'!:.ell bee,l'1 remarked" to
Jl.
<

f!'1I,

,'!jJI,.",

e; OL,o!I' ,0

carts along supermarket aisles (an image lifted! from 21! 1'9 D'D' Mad magazine drawing by the cartoonist Jack Davis), are extremely funny, These works came at a midpoint in Pelke's career, a laboratory phase between his earlier incarnations as Capitalis t Realist and the creator of raster dot paintings and his later persona of a Ichemist . T~y are preeminent exa mples of lat.€: psychedelic art; kaleidoscepic, densely layered, fragmentary, and Illogical. This stimulating anthology leaves. one in no>doubt as to their importance, while underscoring the 'fact that
they are only 'One'part of the

artist's

story,

with the stu~y of aI',tis~s"coUectiV'e,s," P:[jlke~ \-vho died in 2,OlOj' w,as Jln. his thil""ties in. the 19708 and famously \~i]d, .. Tlle period het\vee:n 1972 and. 19'78
constitur~es ,9. "gap"'.in hi'S 'bingr.aJ~'~Y that is hafld t~ re{;Onstl'tlCt ancl.~ the e ditors ,argue~ haflder stilll 'to as,gJimilate, :partJy 'because some of wbaif: he p,Jt'loduoed. ,~t ,that 'tjm~ w,as in m,edia. O.the'llt than painJtin,g and c,ouJd,

re,8!llly lU1de:rstand .and, ,enjoy btld ta.ste" you 11813 d to haVie v;ery ,good! tas'tie"

As an example of critical, socia lly engaged. art Iiistory; S~igrrl,arFalke: We Petty B'ourge,(Jiis!Comradee and IC(fn.te,np(J raries, The 1.97fl8 is superb, If the mood sometimes seelnS u]JJ;equi ViijeallJy afllr'illati ve" his may

'The art historian "~alt~rGrasskalnp writes astutely of Polke~s ~'oo,nquest of the trivial motifj,~~ and. Inany other of t]le hook~s Ruthm"'S refer ,to the ar~ist's penclrnut fOor tbe .a1~'Jl'tiheroie~ 'Vulgar" 'the sen~im,enta.l~ the tbe .ama'tewish" the 'humol',ons, and the calli:'l1.ivale:sque" ' ' '!Ie, 'P"etty Bijur,geoisr~' tee'ms
wit'h ilna.g!eI"Y ,from 'comi,cs undelh"~ound.
j,

be h eca.use all of th,e writer.s ar.e in ,SOmie sen sa partisan.. Wf') .ar,@among fri0uds ~and there is evident nosta]gia fOorthe solidarity ,and the spiri.t of lIi"€,vo]texpilli"essedl'by the
But 'the ,desire to m,erg,e t'he sijciopolitieal witb th,e p!ersona.l is, n~t abs~h[bely convincing," Is it reaUy 'true~ for in,stance~ a,s J uJia Gel shorn .ass igrts ,that in t.]le ,co]lecti\f~'~ssmullf":ll:l1g of m,edia im,age'Sj "'artisti,c' ap];:u'\oplI"iation becomes ,a, political 8:C't"?' This l'llBlY be wishfu] thinking. MP
l'

1.970s ,c:ounte,y,eulture.

be discounted. .as ephe'mer.al Qr hybrid~ '[but ,a]s~ be,c,ausle the d]S80~tltion O'f tb.'9 ,art.iS'~es

lLl1ag;:az;]n.e8~ r-ecord

covers", ads for :liUr:hl.itul~e

a,11o l'louseho],d goo dE" po,rn.ography"

May 17-20, 2012
Opening IPre'vlew ,May' 16
bene'~i"~in9 Ye'riba Bueno Center fo,r the Arts Fort Maso!n Center, San IF: oncisco

Media Partner

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,A,narliisl cOlmlplicales Ihe is,tory of 't'h'e ILef't'
BY MURTAZA VALl
follewed developments at and around Zuccotti Park Last fall through N ae ern, Mohaiemen's prolific Faeehook .... rp- te ... ]1 ,s . ~: "'~ ..... ~·I",oA;ln'CI~ I· UI. P"'O~:t is,. hi~ , m Su ··a.lL, a ~.:;;d,.lC'iaI-· din logue from ehe 1'990 is. cult- hi t teen
FOR MANY \VIiO
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drama

A1:r

So-Called Life; the box-office

performance of the latest instalhnent of the Harold & Kumar franchise: a negative review of'Steven Spielberg's. recently re~,eatsed film, The Adventu:re.s' Df Tin tfnmay 11 ave s eeme d out of character. But 2UDY'on,~ ae quainted with Moha iemen or 'his, work knows that he is a keen but somewhat perverse polymath, whose possible suhj ects of. analysis r'un the gamut from newsworthy events of historical re cord to the sorts of minor cultural artifacts tha t consti tu te what the literary theori st Lauren B erlant has. dubbedt the '''si~]yarchi ve ."~ Eln])l~)yin.g' photography, video" and text-s- formats C:.(}IDlTIOnly used by the 'traditional news media ~

M:o]laielnen~ an ar-tist, activist and wr-i tel' dluaBy ba se d ill. New York and Dhaka, Bangladesh ern be ds painsta king arehi val research into a. web of richly observed person al anecdotes and POJ~I- ul t ure c references, presenting an idiosyncratica By a nnota ted narrative tha t enriches, eomplicates, and ehallenges dominant historical aceounts. Take Mohaiemen's contribution '00 last year's Sharjah Biennial: The YlJllng'
li

unpreee dented media event for the young nation of Bangladesh, whose broadens t di ,ea.ps,biliti . h,les .tl't -h e. ,-,Jlme were muuen. t B.ry . a.t best ~the ai rplane dra ma dragged on for days, ,S! seem ing etern ity for ehe Iittle 'b~y awaiting the return of 'his b eloved show. V\l]1:i],e researchmg 't]le project, Mo'haiem,en stumbled up on archival audio recordings of the marathon radlio . t'l;':::6 !..o III!) ·1. G'Lolli'!iJ 0 nezoti tion ~ b etween the hijae kers' repre senta tive, co de-named Dankesu,
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JUan Was' (Part 1;" United Red Army); a
67~lninil]:te video about the September 2B,~ 191'7 hijacking of J'al)an Ail' Iines Flight 4,7'2~en route from Paris to Tokyo~ to, Dhaka, by a unit. of the ,Japia ne se Reel Army, The film is anchored and bracketed by Moha iemen's personal memory of himself a s a frus tra te dleig ht-year- old whose favorite T'V show, The ,Zoo Gang~ was 8U perseded by a Iive broadcast of the hijacking-and-hostage cr'isia An

and, the Ba ngladeshi hostage

110 gotiator,

Ail' Vice Marshall A~'G'~ ahmud, M op era ting from the Dontrol tower, As might be expe cte d, in the film, Mohaiemen in tersperses excerpts fTIf'Oln these recordings with snippets of archi val video-b]urry bi ts of the origins 1black- and-wh ite broadeas ts: J'.a panese, America n, and local news coverage 'Of the standoff; the wnnderfully dated 'Opening credits of The ZeN) Gangl; and, a se quence from the

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!MODERN PA!IINfi!'r;~:,SEHRUARY 201 a Am'I fllJIFO,eOM F

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1.9'75,film Funn» Lady~ featuring one of '~]Ie airplane hostages" the actress ,C,a(ilrole' We]]s=aU, ]Ie]d! together by his measured. v,o,J[ce-over, 'which fills, in the broader historical and poli tical context" Mohaiemen's treatment of the audio makesd the film stand 'u ~iIJ. Fasci n ;Ei;''',a...Jll ;i_~~G. '," .:, -. '.~.. " "I~b' NJ.~'U by the deliberate, halting rhythm of the 'exchange between the two negntiatees-ethe resul t, possi bly, of the simple fact 'that English W',818 the, mother tongue of neither ,mal'JL-ltoh,aie'men ChOiEH~ to visualize 'W ha t we bear a. s short phrases of' colored text on the black screen, With Dankesu' s words in red and Mahmuds in green the 'echoing' of sound through visual ~ext gives t]le dialogue added 'weight. 'Uneh,al]enged by nnage, the [subtle 811.i fts in, in tonation,
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emotion, eomp osure, and energy are ,8 mplified, as relations beeween the two men cha nge during the ordeal. Terse and businesslike at first, they ,SOOI1 become unexpectedly warm and cordial '-a product
of thein forced intimacy, By the end" (?U3, the ne getia tions break down and the erisis reae hes ies en max, rru B"t ra t'ion .a.n d. sne er es i'" 'lI" '" h exhaustion reduce Dankesu to a singleworded reticence and drive Ma bmud to hysterical moments of voice -eraeki 11.g' des p era tion; he sounds like a, jilted lover t:rying to 'win 'b8.'ck his beloved, After a tense s tan dloff a n.d intorm ]119. ble .... ll·e·I£iiY· 1U1JJ h'I'J" ackers' dem ·a· . a ~u 'm'-j"1'11;,oFII1F11 .he ;Ei;nd,e;,_W,IJl' .._.'"
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(only six agreed to goJ~'w'e:l'1s met. But there is more to the story, The, hijackers had headed to what they thougbt WSiS

a n "independent, Isla mic, and popular" 'Bangladesh, that would be sympathetic to thei r cause; they were unaware t.hat a
'" ince 1 ind serae s 0f> cou ps Since it.s In epencd ence

from Pakistan had resulted in a martial rather than a. democratic government. And in the midst of the, airplane- hostage crisis, 8 group of Bangladeshi officers

at tempted. ano eher, unsucce ssful coup
at tbe ai rport=-with event s unfolding before the hijackers and 'the hos tage s, On Mohaiemen's sound track, we hear voices from the control tower Implnri ng
D!ankes u "to shoot and kin the Inuti neers;

The 'Young ,Man 'Was.'~~j which Mohaiemen
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va ting ,3 nd disseei ing histories. of failed Ieftist

and Hash points. With a skepticism ,that temp ers easy 'nostalgia f~)l""past id.e:a]istic' fervor, Mohaiemen examines
the , 'n~ tende U . 0:';JL.l1~'~{:,lufin- ~,,: ~ .rii'*" C~JUIC OYri ng· . cn ...JlII ""I" ',J.L,JlJl _..... :__.' "'~I ..... ""';:" .'Ib' .ne,f:!· violent mean fB 'to further revol ut ion ,81ry causes: It enabled and, justified equally violent eoianterrevclutnmar-y responses
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euphemism that smacks of the strategic language of internat ional diplomacy: "I have understood that you, have 'internal
p'lIrOh]ellls And HIe hostages iuadvertent]y wi tness and photograph the drama from inside, the aircraft, While only 1.]l plotters die d on file ta rmac, hundreds of suspec ts were rounded, up afterward l1 nd ~'U ..m:.", m !Gt,Lr.iJi<· tri_. e·... nd execute d wi th lly tI ' <. U U ·tIJ~· '~'j".' -,. far-reaching im plica tions for Bangladesh i
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revolutionary movements of the l'970s,both in 'his native Bangladesh and a. round
the woeld=-Mohaiemen extracts episodes from their Clomp] icated trajector-ies as the ~ tremendous promise of colle etive u OOpi811, h " asprrations gave wayto exhaustion, m isguided violence, a nd fa iJed ,at~empts
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The film. is part of an ongoing In u],tidiSlci pIJlna..ry tese a. reh proj e c't tit],ed

at nation building, Rather than venture a comprehensi ve account of the tumultuous decade, Mohaiemen's geographically expansive a pproach seeks universal lessons 't]1r01Llgh specifi.c case stucllies" in
which he .zoO,ms i.n on pa. rticular figur,e.s

,the Right" Finally, the extreme, methods deployed by tbe radical Le.ft were, Mohaiemen suggests, an "accidental Trf«ian Horse" that sabotaged 'the movement's 'broader ongoing struggles, Fol' an earlier segment in the, project I Have !rUled' Pharaoh, ,201.0, 'Mohaiem.en invBis'l igated, these ideas th.rough ,the

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assassinatien-e-from newspapers and then embedded the spectra] images ]1'1 blocks ,nfclear resin, Rescued from oblivion and entombed for eternity; history Is. minor players become it s Iingering ghosts,

throughout these distinct chapters, and ,Mo'haiem.'en~8
broadee practice ~Is a Fefl'eict:ilon on the conditions of maseuli nity that sha pe the se cultures of radicalism . and, possibly, doom them to failure In the text-and-image

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(Pari 7,' .uo't;ed Red

,20.07 the Freneh existentialist philo sopher's 'visit with the :illnprisoned. Andreas Baader unfolds as an oedipal confrontation 'bet wee-n two generations (a,i the Left, in . W L' L t.e emer m t]] .eetua I'· sonnarn ~.. 1S. men th ld . e ..- 11,"'"']1 • y • S tested! by the virile, reckless, and finally
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E_1 ff8'lSse ,·nge,~'1 ("'T' h e. W·l~" 'A- ng~, ") .. , hrte 2011, Mohaiemen reflects on the
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ide aliz edlfigu re of' the ~mu,skeljuden /"he
hypermasculine heroic J'ew'~playing out a catharnie revenge fantasy of delayed

retribution fur the genocide ['.OUI mitted 'by the Paki sta ni Aru1-Y' during" Ba ngladeshs
:1'97], war- of indep endence, through

a.ppropriate d footage a nd dialogue from the 19 76 film Marathon Man~in which
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shadowy circumstances surrounding the downfall .. , of"Bangladesh's .r~n,.,....'111·'" 10 J;j.. a, '.. _I"a::", ,.!CiIi5 '" lL'!ul1u.w."U father, Sheikh Mujihur Rahman, Across three sets of paired text-and ~ image panels, more allusive than archival i.n tenor; Mohaiemen suggests that :Mujihur's event ua 1. assassi 118tion, ill 1'975, was inevitable, carefully planned" a nd .l'Ji.u unexp ..... U. ot .. . cted=-an unin. .tendedIU.. . '. .ILl. , ".- .. .~ consequence of his heavy- handled crackdown on ultraleftist guerillas who considered hi m ,to0' bourgeois ~whie h. dis traeted him from the ri sing tide of
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rightist Islamist rS entiment in the army, Two ,BJ.JCj~,lnpa.n.yil1.g scul ptures address Wit]},the exception o,r two daughters 'W]10 happened. to be abroad at the time, Muji bur's entire farrrily wa s murdered; one ofthe spared daughters, Sheikh Ha sina,
'tt!1,13

Dustin Hoffman's Babe, ,81 hapless 'history student studying for a Ph, D." an appa ren t stand-in for Mohaiemen, survives repeated tor-ture and emerges victorious ovelh"'" Sz ell, a notorjous Na zi wa r crjminal played by Lau renee Olivier" Thi s series of interlinks d portraits of men of action, b oeh his torical and fictione I"

assassin a tion' s collatera 1 damage:

reveals the personal and political stake s of the research for ,M()haiemen,~ hrmself
a determined man of action, By taking stock of the var-ious mea ns deployed 'by the S.f men a.nd the intende d and unintended consequences of their Be dons, Mohaiemen hopes to learn from the past,

went on to become p,rime minister and
preside d over the 2010 execution of the cou.p :ris .pI 0 tt,eTrSL -M=h_I,fllemen us€: d , exni d .. O_ · __e:.r~plve Polaroid film, to rephotograph images of' the dlea.'d ,l\~ uji bur's innocent kin, and ~ the men accused of orchestratmg their
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channeling his subjects' commitment to leftist Ideals into the progressrve
polit.ical s trugg;les of the pre sent without repea'tr1lliJ.g their many failures, MP
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straightening ,them with 'his. hands, Unfurled after weeks or months of 'this. treatment, the cracks in, the pages farmed sim ple geometries black surfaces d.iv]d~d 'by white grids and crossed by diagonal hatching that evokes, "Xerox B,nOk.~J =era Sol :LeWitt drawings. But MC'CI,elXand's lines. also took on 'the' particular character of' thei r journeys Som I,'. I~in - erged ra zor thi n e c.~,- " I~,:, ao~' ... ·a·.
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and precise from tight folds, Others W€500 fat and pulpy 'W here contact with fabric 'Or
greasy hands had stripped away their surfaces, The v-ariation, creates generally taut ecmpositions with sections that appea r degraded and smeared, The patterned rtwo :.,. e; 'Il.'I:,'L ~:.F!!l"h, rel1il'!Jl·g'.o. 1" n- sine JL.L ;;1", £'1I"'l'ii'~'it"fI couple '&Ad~ 1U\-. of feet to as wide as six, have graphic Joree,
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finish, the shopworn pa.per reveals complex textures and. wrung- out fragility; "They're supposed to feel ,8. lit tle slackerish," M~cClel· 'iano.",,11 says,.:!ll!iR·· '11'1 ~lfl'IIJ., on'd f' I J......"" ".ceai y TIl", • ""] f' - oe :eB.'~u...J S t U1L1'j, .......

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While W~d.eGuyton and other artists 'working in a similar s'tyll€ U8@ the technical flaws of humble, offlee supplies to derogate and undermine the precision of geornetr-ie a.bstraction, :McClelland begins 'W ith a broken too] set 'that be provokes by hand
into strained forms, His, affection. for C'3St~ I~ff terials 'took root in. Iris early ye ars rna growing up in Toronto in. a subculture of' skateboarders, graffiti.~ punk Dock" .and zines, MeC]eHa.nd ascribes an honesty to' the damaged ink-jet cartridges, n:s.r~-ty bedsheets ~smashedIightbulbs, and other' sc.ruffy materials he uses in his, work, As 'with the photocopies ~eaeh element is the re sult of a process involving 'hand! manipuIation and the effects of chance forces and the 'p\assag,e of '~ilne.But be is also a. careful editor, holding the layers of process back from overwhel ming the work Bind allowing' it to retain t1 rough compositional simplicity while appearing exhausted and delicate. M:cCll,eIXanu developed his style 'by sifting through his infl'uences" He attended E:mHy CaIT University of Art + :Design, in

Niall MlcCllellanld~s, ealh,elred g,eomelr'ies w
'BY WILLIA,M HANLEY
in the same space was making ,Niall M,c'CleUand crazy, A few' years ago, "tbe now 31·year- old Toran to ~ 'based artist started taking walks just to get out of' the house, but he f-elf.guilty about leaving the studio for long stretches. Around the same time, he was experimenting with Iarge photocopie B of '~nothinij'~ expanses 'Of black with an eggshell sheen
LIVING AND WORKING

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'when there 'was no SOlU'Ioe mater-ial for the copy machine '00 clluplicSlte" McC],e]land crea se d the sheets of' paper to create white flseures in ehe dark fields and .. 'began Jl ~a'kl·1g. th em- along on-hi I"S '.' ',. , ... ., ],., walks through. the city's winter landscape, sometimes folding them tightly into packets and keeping them in his pockets, other times crunching them up and[ then
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Vancouver, fir,st studying art before switching to a design prcgram in which he
felt better guided by the more rigoreus em phasis on. te chni que ..After graduation, he worked as a commercial illustrator'both in Vancouver and .. fter returning to. a 'Ioroneo Jill 2005,-for clients. including

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his sprin,g ,2012,collection, For his Apri] solo

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of"-Iamie Sterns i then director at the
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show at the Eleanor Harwood Gallery, in.
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p,p.!.O.,W.Gallery, in New Yor.k City~ where Me v _ d ... , . ('1],e.'1 I~11·.. n~.aIS· 1"ncluded I'~ th e ' _JJ. .' . ill.. n
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another series of weathered compositions
subjected to. all environment near the 'train 'I racks that run by his new' studio. '~~Withall of this ,stuff, there's enough of my Ina nipulation that 's purposeful," he says ..
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Creature Skateboards and Jack Daniel's, who turned to him for drawings that evoked the faded punk- rock and metal posters of hi s teenage ye ars ..He w... as mitring that vocabulary in. his OWIJ[ work when he began to make the creased.
photocopies, eventually distilling out the

show "Magic far Beginners' in the summer of 2011. Last jie,ar' he a]60 translated 'his work. eo fabric in a more conventional 'way, lending prints of.the photocopy pieces to the Toronto clothing designer -leremy Laing fur

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hand-drawn elements ~I began using the
banged-up piece of paper, rather tha n rendering a. symb ul, 'he say'S, "It simplified. the :ideas down to something' really basic ,n While his recent work emerged from 'he world of bands and show flyers" it no
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longer directly refsrences them, Cheap psyehedelia and the pulp sciencefiction illustrations of Frank Frazetta inform ~CleUand,~s, vibrant prints, which
are made with ink from leaking calorp,rin.'ber ca.rtridges. After foldi ag p 81pe.r into "'" . .... :1,.. "'.. h ·d tllg'h t package s, h..e position s It. ,ecartridge s at their comers and lets them leach out
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vivid sta ins" He allows the paper' to soak forup to 48 hours and controls the saturation
by manipulating leaking cartridge durable J apanese absorb the liquid the damage to each a. nd using a thin 'hut linen. stock that can without matting or

breaking, Last A,p,rit in his, fi.rst solo show
a t the Clin t Roeni sch Gallery, in Toronto, the printer-ink pieces provided a bright cyan, magenta, and. yellow eemplernent to the black she ets of photoeopy paper'. The artisr say'S that he is inspired by the manner in, w hieh Wolfgang 'I'illmans installs an exhibition.Crisp photographs

are placed a longside rougher prints in surprising conflgurations. M,eCleUand,;>s, debt to photography extends to the be dsheets 'he subjects to. ]ong exposure 'to. the
elements before hanging them up loosely on ,8 gallery wall 01" letting' ehem drape limp'ly

from a ceiling-mounted hook, W,hether he 8tarts with his 'Own old sheets or newly purchased. ones ~M'eC]eI]andl frequently uses them for picnics or other outdoor activities, leaving' many with stai 11S or cigarette burns, b efore 'he d:u..sts them with combinations 'Of' spray paint, graphi te,
and ink, He left ,Sk;in&=-·Wint'€:r~ 2.011, on his studio'e fiTh."'e escape fnllr.' an entire season, eecasionally bringing :it in to thaw before "tl"B-,a. tin,g' it with more pai nlt and ink ,a1'JL,d throwing it back outside '00 "let the winter' do ,;ril'."' '!i:1i',rt;'r-~", TI IJW. w·' . ork ,Qj~':nef1L"ge'. U. ·f'_: ,oAii~;-- th e he . ..1 r 1 u. Jl.1~Srp,r!UI p'rOC~8S with a dark, smoky composition
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UIS, ,conkld':: Ben Hor'tley Tell 64,6.75,3.9~

22

I Ema~1bhardey@or~lnfo',com

Thls year marks the 20th anniversary of my caged

performance Two Undiscovered Amerindians Visit the West; with Guillermo G6mez"PenSt To commemorate that adventure, I have created a
set of engravings in the style of 19th-century illustrations that represent memories of mine from that performance that were never documented on camera. Those works wUI be shown in February at Alexander Gray AssQciatest In New York.
Fate should ha ve it tha t I would make my most lasting mark on the art world as

courted, and cheered. We remained expre ssionless ,SiS our visitors ti h pepperea d d oocents wirr questions anou t .th ou r sexual 'habits and suspiciously light skin '001'" expres se d their outrage a t the aight of caged human beings surrounded by a visibly enthralled public,

with cigarettes,

M~er each

day's

'\v,o.rk~ '!\iv-e'dlsnowEl·r'

down '00 wash the crowd away, colleet stories from friencUy witne sse s,.and 1"Ie,8Ld

notes that viewers left behind, Together with friends ~WlS would laugh about the strangeness 'Of it all as 'we counted the
change we had collected for telling tales ]lJ! "nati ve tongues' and selling Polaroids (n,r oursel V"'S s posing with visitora. Duri ng the course 0] two, years, our traveling show took us to Madrid, London, Sydney,

a.11.eth:tlto-freak ]11. a grass skirt; From 199.2 to '19"'9'" I da nee d 4 'mew' h *' patheti eallv J', at numerous international festivals and biennials while m.y masked partner wowed onlookers with his guttur.al mix OdI Na huatl
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Buenos Aires, Chicago, Minneapolis,
W.a8hingt011L~ 'Ne\V' 'Yo:rk~and 'Irvine" California, ~le performedin two public plazas" three nat ural history mUS,eUlTI,s, and the Sydney (19'9'2) and Whitney (1'9i93) Biennials, 'We watched, ill wonder as myths were conjure d about us that evoked classic a nxietie is abou t mons ters barbarians ~and phil istine s~a.t various moments. it was feared that we would spread disease ~'fa umatize children,

phonemes and ,global hrand names, :For hours. 011 end, Guillermo and Lparaded around the conn nes of a golden cage pret endi ], 'g" '''0 be h '1': , ., .er. J!..Ai I"''''i'l', d 1·,;5Qu "J.: 'Ib'd, th 1!lP'l.!I' 'n, overe ,L'Ib "'~ ,.IL..i:1. !U' : ,:. "
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enlh:ageRepublicana, or shock wealthy museum donors with noise and live nudity, Vile made news, lee tured widely on. our findings, and eventually made a movie, '\Ve got ill, and 'we ,got sued, Twenty years Iater, ] can say without a. doubt that 'Our escapade changed our- lives, I may have left the cage behind but it do esn"t leave me. Frorn behind the bars of our gilded enclosure festoone d wi th voo doo dolls, postmodern theory books, and a 'TV-topped al tar, we confused SfHn6 and angered In.any. At times we, annoyed each other: Gui.UeI'lnO ,did.n~·tlike Iny lace 'paint, and I found his rock en egpanol g rat in g., I ,p'refe~r'reda minimalist approach to carrying out our actions, while he wanted oil- '1i, hs __ it PIJ" •. =B""~ 'It 'w',", ~~ both rQ!0 sed that sen I,.Iv ._~ m 'L,..-~ ,'L,..-L ,', '".~,_ 'we had hit a nerve and reveled 'in priva te as the ghosts of ]lJl8wry came alive, People we hardly knew sent us information about the his'~ory of the huma n display in their respective corners. of the world,
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Amerindians, as people stared, grimaced, chuckled, and wept. W@were taken to the bathroom on Ie a she s by docents and fred 'by busines smen 'who 'paid for the honor ~
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strengthening our premise that we were revi ving a venera ble performance tradition .. Indigenous elders 'w'e met in America and
Australia understood OUl' message and. gave their blessings to our endeavor as long as we agreed. not to :p~se as members

of.peeling bananas and stuffing them . I . . thV¥ ,"' d a" nurne .. d in. our .~ moutr s, "e were Jleeve, et. b'1' ' '
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of an actual tribe" But many gatekeepers. of the .a.rt world and performance studies frowned ,on us and 'w rung their hands while we toured, J'an Avgik.os confessed in her A:rtfbrttm review of the 19'93 Whitney Biennial, for example that she couldn't think about cultural genocide bee ause she just kept thinking about how nice my body ·\tv,as.Do:yenn,e of performance 811 udies and New ¥or k Uni versity professor Diana .
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Taylor complained that W~ were too heteronormative to. be truly radical debunkers of stereotypes. Nonetheless, there was
somethi l1,g exqui site a bout the feeling that we 'had! become a "bad object" for the art world, and that even ,8 0, thanks tocon tr,8!CI ual arra ngement s that would have been embarrassing to renege on and public in terest in. our- antics, W~ were not going to di sappea r with the 'wave of' a curmudgeonly critic's, wand, We frustrated h ourge 0]8 ethnics who
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Anthropolo g.i' unit in eult ural studies ,ClOU:rSI9B around the country. As time passed ..a nd our audience eha nged from those who were present .a.~ the live act to those studying the original, the response to our performance shifted away from moralistic concerns about whether it was [_] to lie to -Ioe Public (a s if aetists don't K do that all the tirnel) toward. more nuanced consideration of what our experi ment had actually yielded, Since no one was on the hot seat once the show' was over-sno mOlK"€ audiences

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wanted multicultural art ShOWB to he digni fie dl cele bration s of their.' peoples' triumphs over adversity or their talented tenths; greatness: 'Why~ they would ask, did we want to show something so ugly?
Our' refusal to S't~]ve for authenticity short- circui ted! the efforts of eurators who sought to overcome instit utional racism 'with positive images of people that their institutions had largely ignored, Some responded by becoming aUi€!is- and shepherde d us thro ugh. byzantine cult ural bureaucracies while devising defense strategies for containing public outcries, . Ot' hers whe 'had. equated mult ieult uralis IltJL with insipid fa mily enterta in ment

dup ed and no more bureauera ts could get in trouble for ho st:lll1.g·us-e-we lost QUI' threatening' edge. We slowly transformed from enfant s terribles into postcolonial participant observers, Reflecting on the ca U~M~S'fur this shift r I would ,3ttri bute it largely to our many years of pounding the pavement-e-we gave dozens, ,if· not hundreds, of public Ieetures to convince the academy that our "lies" had a greate-r' purpose, We also benefited from the

expansion of cultural studies in the ]l.'9'90s-, 'which provided us with a sympathetic audience at a. time V\7hJ~~l1many art
historians. were trashing multiculturalism and redisoo,vE'r.ing beauty, Finally, credit .]d t j~l· liy,]tney's an d th IS aiso cue '"0 tne 'u'l'"h'" ... ne ....a ...rer ·····r ' ·e:r "W"llo AteI '. em ter' IS punucr Y llJU3J.,e,I.,.himes blicit and ~hej[r extraordina ry capacity to' dissemina te our images on. a glo hal scale 'The undiscovered Amer-india 1'1S still aren't meluded in Ja.ns·crn/cs His~o'ry o{ .Ar'~·hut we did. make it into qui-be a ' few other art history textbooks, much to my surpris e, The records of our tumultuous adventur€ continue to be seru ti nized by academic experts worldwide ~ Students who weren't even alive when 'we were frolicking behind, bars nnw write me to ask ]11 wouder how we did it. I still b elieve the audience did "it," They made the performance weirder than anything I could. ever have imagined when [first stumbled upon Sander Gihnan':g, account of Ashanti being asked to defecate in public while they were 011 display in the P!ra·'ter in 189 Os Vien na ,so that pruri,ent
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denounced our work as offensive, even shocking. ill inn honored by their astute IO·::·········W·······,····:·::····:·· ,':'
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appraisals. Our detractors found themselves ilJ! stra nge com pa ny: Those 'very liberal but very uptight museum officials who hated washing their dirty laundry in pu blic h ad to share ~'heir irritation with

ha ut con ceptuel art, cognoscenti who
hated abject aesthetic interventions that make a point with humor' and 19'80.8 art sharks 'who hated sharing the spotlight with colore dlpeople th~y saw' a.s. pa.rty era.s.bers. The last ~f ,tbe tl1ree remain unfo:t"giv]llg~while the otber's haveJ over time ~begrlldgingly eo-needed, t'ha,t tbe pielK"fOl'IUanCe had ullexpecte d oS taying po\ve·Th.'"·,eV el1.if t'hey didn't ]ik,e ou~' m,eg B,age 0.1" au.t lnet'hod. ~ 11 th.e vlake of -tbe culture 'waI'iS" a fte·r serving tim,e a.s·whipping boys for a.nti~P'C· pundits 'we hecam!e P(~'s:~~r ch:Bdven fhr t'h,e acade·mic Left. T']le· video docum,entary ahout our perinrm,ance h ee.ame s:t.3l rd. nda fare fo~' the "'Everything' You Ever V\lanted,
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I ha.d. re,ad classic '[,~Xtr8 about the ,collective u:nconsciolLlS as .a seroiotics lnaj or at Bl~OWll UniveTh.'"sity hut I Rl,adl no 'idea '\v'hat it :[el~ lik'e unti] :[perlo'~'med ,the role nf the sa v.age in front of 80 -calle dlcivilized. 'beings,,, I shan neve·r forget -['he une'a nny sensation that a cavalcade of Freudian slip,s. ahout coloniaH,sm 'was springing fortll

e.acll. tim.'e our sho\-v he·,g.an. Neitl1e'r of us
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'be for others 'w·as. enti,cing and. :lami]iar~ e·vell tltrrugh the ethl1og-r.apbic display

of human beings as curiosities was a defunct practice by the time we launched our tour. Vile offered forbidden frill t For ,9. In ulticultural moment-s-a blatantly racist
di s'JPlay-,and. elicited shudders of pa in and pleasure ..It 6IV,en seemed at times, 't'hat he pa in 'we engendered was pleasurable
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'The entire enterprise turned out 'tf) b e a. kind of ~XPOtSe of the racial doublespeak
of educated liberals in the so-called, postracial era. 0 ne particularly nasty critic ea Bed it a pf,ege a con, or sucker bait, as if to S tty eha t you had. to best upid to fall for

to some, as, if' W'@ were an antiracist WaHin,g W:a&L 'The political implications, of'
these amhigueus respenses eons ti tute d a hot potato for museum bureaucrats and cultural theorists: While it \VfU3 fine to acknow ledge racist errors of the past, it 'was an entirely differe It matter to support art that elicited racis t pleasure in. the present, And 80 those who believed that their prefessienal i:n~eg.rity depended on di stancing themselves from the pleasures offere d by the display of racial difference publicly decried our experiment-c-even if they celebrated with. us in priva te, Their feigned horror at the JP'I'Os.p ect that racial difference could not only be desirable 'but entertaining at the end of the 20tll century 'was at magnificent charade, If only the psychie life of 'human beings were simple enough for any ehi ng racial to be equa ted with racism and swept under the rug wi th a Ie gal injunction Afte']i"' what I've seen in. archives and. real life, I H,stake my bets that even abolitionists got a kick out of gazing at their dark bl"'e'lhren,
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it. But what does it mean to "fall for it?" Does that mean, that all responses could. be divided neatly between tho se who 'believed
we were real and those who didn~t?' \¥h.at about those who didn't 'believe "it' but wanted to plla.,y the game, 'to mirn ie the Kiplingesq arroganc ..... a color .. al? W,' i?O·f'hy ..ILp" :.vl-":i' «. UJl'] l' W',~S the "lost tribe" script S~ familiar that a nyone seemed a ble to pick it up and run. with, it? W]lat explains the attraction to a lie? '~]lat abou i those w]1(] knew 'W11.0
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then depends on cheap immigrant. Labor, redlining, and mass incarceration 'to sa feguard clas s Irierarchies that are ob 'V]!QU'S ]1 y racia I" d? It was to:h e ]Z,9( ~' ,unspeaka blygrotesque irony of 'OtIT imagining America as a multicu I rural paradise that inspired nne! to push the p erformance to "its Iimits and to refuse
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'Illhe Slrt st hl her dQQm'wa,y.

to break character so as to a S,SUlf€3 the audience that we were not 'real, Iet
them heea the a sigh of relief, and wander horne, 'Uneasiness was a better response '00 the persistence of race us' a social {SiC t than di sbelief or disintere st.

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] continue to marvel at how much curjosi ty the Undisco uered ,AIn erindiane
after the fact" especially when ] contrast it "to,the fury 'the piece caused in its moment ..Although I ,S! m frequently asked 00 talk about m_yexperience with '[he V;1Qrk a nd often fee] as though ] Iive in its shadow, ies not something that I could, ever re-perform, '~O use that awkward neologi 16m, '~]l_SiJ has been embraced of Late by 'the art world, T:w'DUndieeouered Allte,r:indians V:i.1ii'~' the 'West emerged from and belongs ,t 0' another time ~before webeam s a nd reali t v TV normalized- exhibitionism and turned popular media into a. ,24/7 ]lYP ersexe cll freak show, '\;Ve are an in cages now, trying very hard to couple, MP
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generates

we were and championed free speech and

contemperary art but didn't want trs "to experimen t with volatile subj e ~:tmatter in front of people who lnight not "get it"~d]d., they not also believe that somethi ng "real," albeit inappropriate, was happ ening? Twenty years Iater, I 8ti]] think about an unanswered queiSti.oll that le d me into the cage .. Is there anyone Wl10 really believes thae we could be "pos t~ racial" in a culture that fetishize s black a thletes, ~ equa tes black style with, rebelliousness, pillages mdigeueus belief systems. fO]i" piU1Y profunditiee to satisfy the spir-itual cravings of secular materiali sts, and

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Few contemporary painters are as unpredictable and excitinq as.the German-born Charline von Heyl, Scott lndrisek spoke wi·th the artist in Mlarfa,. Texas, where she keeps a studio, in advance ot her show at Tate Liverpool. openinq February 24. An exhibition of pcl~nt,~ngs drawingsland her first larqe-scale museum presentatlon-is on view throuqh February 19

Those are decorative patterns that function OJ saki nd 0 f 'e ntran c:e .~ to the, sp ace,..What n pa~i~,ting does, w'I~\"ichI love, is use ,aJI tou r ca pabi lities that we have: sensatin n. lntuitlon, thought, and f,e'e!iiing. So the idea of
1

at the Institute of Contemporary Art, Philede phia, and moves to the I~nstiitute0" Contemporary Art, Boston, at the lend of' Marc.h..
Charlin,e von Heyl: You Iknow,·I~,a~int~ln·gs " are la.blt I"k vamptres, 1- 111~.e Scott Indrisek::'ValmIP res? CvH: I always had th~i,s ~i,dl,e',a, that paintings are zombles, because everybody says, iiP'ainf~ng'is dead,' elndl then they're 'wa~kJn'gl around halP'IP,·ily-dead. But now I actually th ink paintinqs are vampl res, because they feed on the gaze and suck you r ,elyes. i re,alillyhave the feeUing that the more a pa int~ing gets looked at, the strcncer lt glets~The
ones that are the most reproduced or looked at' are ·glO to be the mIOS.t' iconic, Ilngl and so t h'Fe'Y t ua.llilyg a in p owe r t h rou g h ac

a materia! or one thiiing='lil~e sT.ripe.s·=haviiing meanlnq that'siiJ jus ~II'; gii"'i;'~lng cut ;I·t ~~ il~'UII~; ~u~tnot ~~II ~,_ to .JI I lrnean """"Ii;!I,' _~II~' ~ I'U" ttl ose ·8re mu te nt ideas and muta nt rna terl alls.
DIG

tlb·at wri· I be ·at Tate lhl'er'po,ol? There's quite a. bit O'f ollder work that iils.
excltl ng to S€H~~; w'ilth all most the whole bodly ot wo,ri~ th at I dl~ tn Texas ha I'~' yea r c'g o, Fa r d a

'yolg"r',esu rto'ulnded by~wlh·etlh er ,t h ey"'r',e te:xti'l e s a,r p.atte rns ln t hie na,l:ural worlld?' To t.aJiy. That's 'why ~fmftlllUng mys's-If 'with
tons of them ..

you 'fllndl t h aft yo

u ab,s orb pattel!" n s

the- 'l~l the- 'Works a re cornln 9 from EUfolpea n te, collections ..Wha.t~sat the leA Ph~ilad,ellphla co m e-s from Aim e r ican co III c t~ n s, e0

Wh,at abo,ut iln Ma.rfa., wher'e 'theFe~s, not mueh ,aro,ullnd?'
Welt the stimulus is a~waY's from books, and the tnte met-it's rareilly trom outslde. !t.ls the country here, l'm not bombarded with bullshlt, so III an actually choose .. c

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betwe·eln I:he i"p'es of; work. 'your Ame rlica,nl and I!Jur'op'o,B,ln C:,O 111,ec.t.or·'s Ibu y1' ·Ii:.. rt's wua.,!j.IL \iVe.r Ire gOing. t-1.0 "nn rd ou '~III .... , .. .t .. u _ 1I!I,a, . S .~
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100 YOli ·t1llndt:hal: 'the r'e iis a dii'ffe,re,nc:,e'

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that. But ~fmtak~ngl away from the I~,ower iilf I expla im,too much.
H,ow' IMu,ch t:~me do ra,UI SIPend at "our

stlUd~ 0' Ii n M al"',o.'? I alw',ays try' to stay several months so that I e:an IfnII r]1 ~sh the bo dly of work, ~ rea Ily' t's annoY~It1g to get away ln the Imliddlle of being
in thl'€palntlnqs, I actually finish a body of wor~ faster than in INe·w'York, because there's
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Can you dlii:s.cus:s the pa~nt:iingl ,~ ? 81 kS···f '1<1,.' '''~/O:: ' .ale· ',T'I,,, e' III on't Ilik.eto. talk about spec~lifm.cpaint~ln·gls,i nd depth because I prefer not to. be the ultlmate autholr~ity ,on mly palntl nqs-In fact, IIdon't want any authority on them. There's more
freedom, i n looklnq If there is no explanatlon ..

.A II·o't 0 f your worlk ·se·em·s to iilllvollve· ·thin,gs b'eiinl'g c'ove,red II p or er.asedl·or S,Cr~bb IIe d QU't. Blue' ,Eye.,,, for in st anee, rem,i'lnds me ,o'f soml'e ,of th,os,e I!d R usc h a t:e:xt pi eees, iIn w h ii chi he wlhited out: t:hle· w,ords wlit:h bl·ea,ch~ Wh·at abo'ut thi·s lide'a. of thi'ngs beingl
c'o,vere d
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noth ing ,€ti sa to do. ~rea lillyget into the, 10ne, 5,0 YO'UI go, dl,oWlft ,t·o M·arf·a an,dl s'tart wiitlh alill bllank c.anva.se·s? Totalllly",.A.nd the .studio is,.ama:dng., gigantic. It's this old !ulmlb~'lry.a,rd that we, buiilt out and ~i'tr'S ~·ik.e cathe,drai-su p,erh~igh cei ~i OJ ngs and a Ir'eaII~y spa'ce ..llit's.]·us.'[su(:h an Itdg extreme fee~ing of fear and joy' at the stllme time ..i Imearnl,r. everythilng in 'Texas ·~s extreme.
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III/Vel a rd real II 'fa nta stl c in te rp re tat~ S Ihe y O,In from d iff,en2 nt people maki ng Black Stripe' MOjotheilll own, ml.arayof them much more lnterestlnq than mtne, Andl ultimately, it is 'trhe S~Ie nee of ,w·onder in'g t ha t ttl e pa int~ng i g·ener·,ales. that is il~t·erest·in,gl-not the lexp Ia na t'ion, but th e exte ~dled a et (d ~ k.i n g .. 0.0 'Ih it! ~,a t'~ 9 n e·~ds s.1~,a e to s h ift ,a.nd i~ n [ shuw·flteand n2m,ake: itselt even 'for my own €fY'S'S. Thaf's much mlore' ~lmlrJortant than the 'ideall ha.d or w~il! ave about 'it h OK, how about s'om·. o"f the si'm'lplelf ell e m'en'ts? The ~:'Ol'lmS t~h,a.'ta.PIP,ear a.glai·n anld aga.1I11 'the, :5,t:l'iip,es and! the .. h.a r e qui III p,atte r n Sil'

tlh,e W'O' rk, 0" tlh e re be in g

s'o m'letlh i' n 9 U Ii'I d e'l' n e atlh? W~ithBlue Eye' III id attach a second canvas, a d bedsheet a.c:tu.cdiy.r on top of the 'fJ1lrs.t lilt's a one. 'w/(JYto. resu rrect .a pa ~ ing that has bee n nt overworked aJln has di ed. But" you Ik; o.w, 'you d n c an/t Iw,e,adIy :say ·it·,s 1J-c>clve ri n g u p"l.f ~tl..smOIF1e· I,ay·!~.f~in I was w'a.tch ingl th is IKorea n Imov ~·e g, Poe-try t fa at en d.s in .a rec lltati 0 n of a ill actu al poem., III av{~;no ide·a ~if oetry ~is h p good orlba.d.1 ] USy can't j ud 9e it-I dian' t· know' ,enougl h ,about ~ IB ut i was cu ri 0 us alb-ot]t 'whe·the r ~c au! d t. ~udg e tih is IP,oelm,.So ! actu a lilly'wa ntedl to. Ilsten to. it .over and ove F ,a.g.a.in, a nd that' Im,ade me se·e th·e ,s'n,diilnga bout e ight ti~lm,es. nd I A disco\;-.e'lr-ed that every tilme ~'watchedl that>

A~OVE AND OPPOSITE, TOP:

O'lil-on liill1enr eaoh 32 :<28 in.

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Blue Hermit, 2011"

Bi,ue. Eye·, 20108. Aery Iric.oill. OIl! de he rcoo I on Ilin~tJii.82 x 78,in,

I:hi'nk ab,o ut: wlha,t's h a nglln'l next ·'0" wlh'a"t , II ~In'!!!!i.ln h';b',' i"t~,o"n'?0' 'Ir ':"'o,w ~'h,iIi!!ii, ex II.· .. III.,· '"', Ill, ,'. 1Ii, vlew'er w'UlII proglr,ess I:hr'ough I:h,e r'oom? lt's .',",",'.' I· ••. ~ ~...; ~ I s goo'd tohave~ helnbeceuse E 111'1;;I~'ue .:biu:iJ,'~' you're always_. ,_u . 111'1;;' .'"" rna rn ed to, you r (lW'n p reo c Cu pa tlo ns, eve n ~ifth ey c han g e ove r t'h~yealrs~ i t'h'i nk ~ s ve Iry t" m UI'C h OJ bout ·w hat a.llllllow'S I~,anf ng s to the i be seen, aesthetically, 'witho,ut b,eing ove r wh e~mpedby S,Dmsth in 'gl e·III.s,e. eye h as My' been brutaliz:ed a lot, so' ~can Ihl@ w'ittJl pretty harsh luxtaposltlons, But people po'int out that t hey In eed two or th ree vi ew'i ng s befo re they 9,et usee to a c.omlbh,ation or until they u nd ersta nd t'he p,a.iilrli'Ung. I m ean, mly pal nlt~nlgs have a~ways Ibeen an a,cq[ui red taste'. Acquired as in S()IM ebody actual ~ corns s b sck andl y thinks, "here must be more, to ~ttnan I thou 9ht at fi rst, or There mus t be so meth ~i n9 b Ib" trna t(,goes I:... eeyon d my' neqanve reac t" .~' non, -8.:b a --:JJI( iot of p eop II!~feel ave rw he Im ed unfi ~t hey ,gl'~lt ., t_-0 .'Jb Tlb epa .I rrf n-gls'0 e'n n·t III neec sorn e -.dl "" rte y d III 11(. n In J w'o rl~ -0 tJl the par t ot t he be ho lder,
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see r1I e, Isaw a d iffer,ent see ne, III eal ized that in r the bac.k.g ro un d;rthere w'e re th~ln9 s hap pe n~in9 that were crucial to the' development om' the w hol e movi e' th (3. t I had nl"'[even seen at the be,glml~~ing, IlEv,er~t single time, there was another del'ailll t'h.a.t I wa.s se,!e~ing.And that k ~ of vi sual delpth an d IayE' r'iln 9 is se meth'i ng nd that I think happens iilnmy palntinqs,

WQr"k' "OU I ,II "

eom _ iiI.1' i:t 'wi'·h n-t - '- _'11'e -,' 1'11,0
s goling

preconc:e·p,tlions, as, to 'what end up, en the eanivBs?

te

Hlo:w, ee S ee ..lag e. in y"QUII" 'wo'rk S ,0 iii l 11!1 ~,r.,,~,~ ra n to _~~ ... , iC!"? r 'a'lnAIf t ~ III S'III g'l- 'I~I_lI-. t ~h' A p.!!:lIiJ ~ III t"'1Il II '1.;!11,.~ rea ~ ha s to do 'With "jibruta ~ n'gl.,j,~ t ~'Y' ~i~ 'V,ery o,ften III ake co,II~,a,ges by ripping one drawl ~g m into p,~,ecesand lettingl them tal IIonto another drawinq.The iey-e is so ea'ger to mak-e connections that tt immediately morphs the thin.gl into a whole new 'image without much
',~_I~'~'~!I ~ _ ~III_1~I,_~~.'-

Yes." it W-S, Collly' works U there's it
the-Ire, andl then it's just
,8,

e'ne'lrg'Y'

giddy moment, II'm so curious about 'what m~,glht'happen.I'm so into pailnlting=111need it 'for lifTry's'ellt
Ho,w',ofte'n "0

help, To understand how manipulatlve you c:an actu a ~ b e, and ~M)Wbrut'a ~ yo U ca n Iy' Iy'
min g IY un blr~'dg b ~e d ifr:f~r~n c es ~a to'9Iether=that iil.s $olmethin-gl that I learned thr'Ou-glh co.lllllla,ge.llltl's ade th~ng.s happen ln m the, paintlings: that ,an:~' more out there,
fO'IFC~see

you sterta

p,ai'n'tilng alndl

~'mw'o ndie'lf i' ng abe ut: S'. ii 11'0 rs SQUI 11,,':1' t:hl,e sertes o:f 'slix p,.iint in'g's y'O'1I mlil .. 'iI! d t:bi's,ye'ar;;; You dlon'l gl'ener.allly' work: in a _- 'II -,~,..,'0 you?' 5 e rtes d ,_ .. '.. I~'.
~I

Plf'oc:ee,d d ire'c'tl'y 1:'0 iit:! completionl? lt's ra re, Evelry sta rt is tal se, Lie,t:"'st,allk about' two r,e,cent; wO'lrle,s,,' L,a'ck ,and Exce',ss' a,ln,d K;lle,r5'm;le'~ T'hey bo,l:h IIB've, etean I~nl,esthat are d Ii,s r'Ullpte,dl 0 r"lfO ken ..II,r'ml i' n 1:0rest,edllin , 'the c,ontlf.Bst lin your w'olrk ibe,t:w'e,en 'thos,e ,tle,an IliOle's or shape's ,and t:he,

it almost counts as. one pal nting because it wa s m a de ln t h'is on e ~'llS iir,edl9o, III th ls P ' n c,as,e,.IIdid use ~mages as ,a tlr~'glger 'in a onet'O~orM;~ 'w'ay.r.and i ChOSA;~limlages that '\iV'ere t. egl ·'.J!,h Ib very' c~-iarged~!.o b~. " ~ Will( '.

NO,,1 don't. This. was. ,a.nexception.But

O'P'IP,osi'te,: ,over'l - O'W, a,r me's's",

sa,yingl 'thlat: no, matt'er hlow c:onfusin'g s,omethling Imiight a,IPp'e,ar:r, t;hle ey'e. "'5 a 'w,a,ys tryiing to mak:e some,.; li'ng 'Ollt o'f iii?' l'm 'thiilnkilngl o,f C:atch' If'a'd' Wre'ck, W _ liicih Iloo,ks as If u've d re p'p"ed a n,o't he'll" p'a~nlillng with iiI's own fra,ml,e ,on 'tolP o,'fa ·arge,t' pa,ilnting~ The ~ye is alway-s, ,gl,am,~.

$0 you"'lre

,,0

[oc:k c~ndEx,oess, 20111" Ac P1~ic on Iline~"20 'x' '~ :6 ii n,

I do,n't fo!~owa busy pa'in-ting neressari Iy 'Whilchl iilma,ges?' 'with a cleaner paint-ilng. SOlme p'a'ilntiiln'9IS, 'gin through a iot ItH~:forethey talk back and It wouilid be counte'np,roduc.tive' to reveal the sourc'es, You would never be abl,e to '~'~(Hlsee",j don't 'want to be tou(:hed a nymore ,and w'hat Y'OIJ kno,w,.lhe potency of these, others a,re there f,etst-er than ~can thinlk. Somletilme'-s ~wa nt ,a pa~intin'gl '[0 assert Us pa~'ntin'gls Ues in the tease., pow'e'r thlrough a :simpille 'glra.I~,hli( ual'ity~, q ~ E'trea,llly ,t Ie',case" a,'s 'YOIU'v,e sa.i'd S somietitmes, thlr'-ough a Illabyrinth of gestures,,, ells,ewhe'lre" l:hls.l; ,e,ve,ry tiilme you mak:e a sometimes [}oth.
l

'You C(UlJ lid n'.: Ima k;,ea p'a~n I~npg,t tI a:t wouldlte,r,al y m,ake· Ino sense?

Th,e refusa~ to deal with ,Ei.n~imlage''COlme':$ frolm the mh,d, '~t,om position ,o'~; ot a n w'anti~g toO be d~isturbed,.ln the moment w'hen you a.c:tuailily go with it the eye is going to l'E',ad th,e w,ay. The eye is,,, I thin k" m,a.de to j u s.t a ere pt 'W hat it s.ee'sas 'f a,ct." M P

6:2

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64

IM'ODERN PAINrn~;S! FEBUUARY 2012 ,A,RTI IFO.eOM ~

"'1:'--- n'ot a ':t- - .'-_. d" textil -1 .,,~'expert, '" says S th" S·lege 1au b .-~W are at R··--- -- R': --- A·1--- oamsr .."u-rys _ ,.ra ne.··, '18'X nert _ ill -.€ . '. ve - taven _·:OW-·'-" ex S·· ~-- sbu ---,,
private foundation in London-c-sipping coffee in the cozy top-floor fla [18 I struggle to piece together the multifarious facets tha constitute his half-century-long career, . re's Siegelaub the independen curator, avant 18 lettre, Siegelaub the activist, Siegelaub the political researcher, Siegelaub the rare ... book, dealer, Siegelaub the publisher-and finally; Siegelaub the s .., .., bibliographer, and hunter of textiles 'who opens ,3, show f his eccentric collection at Raven Row' at ie end of this month, • "Seth is a, knot," says the gallery's eputy director and co-curator of the exhibi ion, AliDB Motard, '~~'T'h'B texti ·18 vocabularv really reflects ..is way of thinking .. • Siegelaub's name is nseparable from the late 19,60'8" and e',arly7 O',B heyday of Conceptualism, when he worked with BU giants as -Ioseph Kosuth, Sol LeWitt., and Lawrence 'Weiner, but textile is what has kept him busy for the: past 2,51 years, In 1997, Siegelaub published the Bibliographica Textilia Historiae, a, cornpreh . , SiV'E reference guide to' volumes ion' he: 'world history of te tile s crafts" techniques, and commerce, .' most ex, ensive bibliography on the subject to date, it continues to grow online, with more than 2,5 '00"0entries, Siegelaub has a, SOl compiled a library 'of almost 10,0.00 books on textiles, as well as a .: modest collection of about 65 0 specimens (if actual textilas, headdresses, and bark cloths (tradi . I fabrics made ill Oceania and Africa from the inner' fiber of trees) ..These initiatives are the varied ., ands of the Center for' Social Research on Old Textiles ... CSROT)___;which itself is just one of the di se research projects (including art law cont emporary art [heory and physics) under the umbrella of e''- tich ing EI gress Foun d ation,J", S Siegelaub established the fdundation in 2000 "to bring together all my ~.terests and projects during the: past ,45 years," ·h'esays, But the question remains: How on earth does he ink such widely 'varying topics? • "My principal interest in textiles concerns the building of a litera, . re on their history," Siegelaub says. "My intention was to uild a bibliography and a library-the best in the wor Id Ion the subject. I 'VIE' JLi.m'.' __ ,_L u .'. .. ..' '_ A'·· J ,> L com e fairly close,' The " ,~. assive archive is currently housed in two m :': ' in ,..::_ erdarn_ where mst the Bronx-born American as lived since 1990. Stored on pallets, th library is almost inaccessible,
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"even to me/' Siegela ub jokes, lire continues to €,xpand it, although he confides tha t he's not buying books, "as aggressively as, before," Ultimately, the archive is to be given. to a n ill sti tution, "if a nd when I :findl

someone who is ready to seriously engage with. it.," he says. caROT ]s not Siegelaub's nrs:t projec t of his. kind, When he Jeft the art world!, in
'I

1'9!7,2, nd moved to the Parisian suburb a Bagnolet, he threw himself into media

research, setting up, the Intema tiona] Mass 'Medi31 Research Center (I~[~-S.iegelaub clearly likes an acronymic mouthful), a library of ,Marxist Iiterature on media, which 'he later donated to the In temational Institute of Social History; ]11 Amsterdam, In callof Siegelaub's endeavors, the method of working is k'~y~pl@.rhaps. even more so than the subject matter itself and. the bibliographical system is the, cornerstone. lie ]s an enthusiastic bi bliographer, feverishly hunting, gathering, and organizing knowledge that 'he then strives to render as aeces si ble a s po ssible.
='

the 19th century, at least, It was 'this dual aspect that really t.urue d me on .,"" e H "sees textiles as reflecting' the development of capitalist society," adds the RaV'@l1, Row exhibition's co-cura tor Sara Martinet ti .. Although Siegelaub's involvement with textile s became :Ehrm.aJiz.e cll with the e sta hlishment of CSROT in, the mid 1980s, it predates 'the Conceptual art shows f~]r' which he is now mos tly know n.. ]n the early 196,os the 20,·something Si~,gelauh developed an intere s t in Or iental rugs. while working part- time
i'

'between 1968 and 1971. In line with the

emerging Land Art movement, he '" orgamzea ",1 ~lI:1J"'I' nnam, n an ex h' 1,b·ltU)l]' -""" diL..· m .. . . at Windham College, in Putney, Vermont,
that showca sed outdoor works by Barr-y, '\'\Feiner, and Andre (the Iatter' s conteibutdon, Joint 'was a line of haystacks in. a nearby field], For- the exhibition "March, 1969'," 3]l ,artists were each asked to' create a work corre spending "[0 a single day 'Of the month; ~cJ1ulyj August" Septem ber 196 9';r wa is an exhibi tion held simultane ously across the world, including 'Daniel Buren contlrihurtiug from .lPaI'1l8,. 'W:eine:r from Niagara Fall s, and Rob ert Smithson. from Uxmal ~in. Mexico, After these groundbreaking shows, a rt exhi hi tion So were no Ionger con fined to 0bjects pre sented in a room ..,Just as.
j'

at Sculptureflenter,

in New YCH:,mL and he
j

'Started to build a small Iibrary of' about IOU volumes, on the subject ..Rugs 'were also part of the short-lived commercial gallery that he opened in, the fall of 1'964; at 16 We st ,D 6th Stre et, which was briefly called Seth Siegelauh Contemporary Art and Oriental Rugs. He even displaye d
l

f)~ There

~ no ,gr ea ter project on the 'We'b s

than Wikipe.d.ia /'}he 'tells me in pa s sing.) Primary Inform,atioll, the New' ¥GJrkbased art-book publisher, is, about to republish a selec con of his la te 19(5 Os catalagues, to 'be made available free online.

carpets and contemporary art together ill the first few months, S]Je gel 8.ub had met Weiner in 1'9 06 in Provincetown, 3 Mas sachusetts, and Vl811t on, to show his work twice at the g,a]]~ry, But the books on carpets rarely got a. Ioolc-in.
1

"fiD

rsecause I wa s nOEUlS.!inethernand I 'was ng them ann getting involved. with art, I offered to loan

them to the Asia Ga]lery-now' the Asia

Society":" 8ie,g,ela.uh recalls, "Then rny gallery closed, a nd Concept ual art and all that began to develop,"
"All that" ]S :p'lli"'ohalb]y one of the
1110St

sigrrificant stages m the evo]llt:iOn. of what is today k n.own tIS independent curating. Alt'hougb Siegelanb never called himself
a curator=-wbich, in this
SHllS1e"

would

have 'been anachroniatic-e-he paved the
way for a ge'l1e:r,a! tinn of curators to ,C orne. Halls. Ulrich Obrist cites him as a, ,major
iu_spJllli"'atiol1L f~):rhis OWll practice.. ''''Curatin,g follow,s art ,," 'O:W,ris t t,ells me" WhHI1 I visit hiln ]11 his Serp entil1JJe !Ga llery office,. t!'8ie,ge]a ull was very cl'08@ to arti s:ts.]ike L,a(wlb:'ence Weinel' and. Diouglas H:u,eb]er th'e ea.r]y Concep'tualists~ and flb:'OITI that he, ,ex l"a,ete dl that if the,se a..rtis,ts w,ere' w!orking' 8/1) much 'wj th de,m,aterializ,flrtinn ,thndl concep;tual ma tter.',$~llJE~ou]cl[ j net c do a 'boollic~-; the ~~Xerox Book,:;'l plroduced For

'Weiner~s statemen t that U1e artwork "may not be, 'built" gave rJlse to the eoncept of art it s pure idea" Siegelaub' s proj ec.,S from 1'9 68 ehrough 1~H71cracked open th€: tradi tional exhibi tion mo del, The possibilities are endlese=-exhibitiouae compilations of recordings, as stacks of pes ters-e-a nd they eontmue to be explored. (0 brise s "Do It ," which ]s eomposed of artists' in struetion s f~orartworks Itobe .' rema de B!IIJ., various ex h'b' riIon venues ~JiS . 1. -:[' pure Siegelaubism.) The legendary status of these pro]e ct s stems, at leas t in part, from Siegelaub's extensive networking and marketing talents, In his 20(]4 book, Conceptual Art and the Polities Df Publicit», Alexander Alberro goes as far' as to cia im, with h B.l,"Ielydisgui SIB d ani mosity, that Si,~g,~bl ub's credo is. "if ma rkete d correctly, alrnos t ,any artwork, no ill a t ter
1

,&

how' unconventional

j'

could be sold" ~

a.Ithoug h there ]s no evidence that the ,protocnr.a tor, wbo s aid. he lha,s S(D,]d[w10tks ~(from 'time to tim.e ,,"" as m.ade h
B

s,]gnifican.t a,mOlln~ of cash ,a,s a cl!,eBler. In the i~a r.br 1'97.0s,;, Sj,~,gelaub b@c.aJn'~

an

j

.increa.singly ']Joliical .and 'wa S .aL,en ve :in t p'l'\otests. ,a,g.a:inst~he Vi.etl1a:m War~ ,and. '
he so on le,ft tbe g,rt 'world altogethe,:t.

But before the .fIrs.t of s,everal drra,m,at.ic changes of d]rectiol1-~~I h ave cycLe s of 10
yea rs,~ he sayrS; ~~'th@rt world poli tica 1 l" til puh]is]ling, but textiles :i So m,iLl,ch lOl1.,ger no\v, about 25 years""~ Siege]aub dlh'"'a,fted, alnn,g 'wit1l tlle lawyer Roheill ..t Pl"ojan'8ky~ The Artist's Re8,erved Rights Transfe,r a.,n,d.Sale Ag.reement~ .a.k.,a. tIle Artis:t"s,
f

,For Si,@g,@laub~classificatiol1l VG1"geson

obsesrsdion,. ~~I a sickness l' I s up:pos.e /j' f's he says~~,But the ,most i[[lportan.t thing' when 1 begin a. project" the undelh'"lying pre cep:t~ is ill. at u{} one ]1a 8. ever wo:rk.ed s ys"telna"tic:a]]y on the, su'bj ect before.." Siegelau'b ]s e-a.gerly m.a:ppin..g llntrodden i.nten,~etual territory., 'W,hen I ask hill) how he m,ade th~ leap from ]]io]i.ticSo to textiles, he ,~rnsV\7ers that textile ,oornhines. '''beautiful things a.nd very larg'e ~sc.ale manll.fa'ctlll.ring and COlnm,e~iCe~llp until

with Jack W~ndl@r in 196,8 8ie gelaub asked s'even artist8~Carl.Andre,:Hueb]e:r~ Kosnth~ Rob ert Barry" Le'~Ji"tt"Robel~t M,orr]s" a l1L,d Weiner-'to ea.ch create a. work th,at would fit 'w.ifh.irn 25 pages,. This project is no"\v ~r:lidl01yere dli ted a,s tb~ first pub]ica,'i[".ion-as ·'ex hibition. ~~When,art concerns ]'tself with things not germ.ane 1J • 'b -'Ii .. to 'PnlYS:ICa.JLl presence~·· S·..•lege,] au_....to Iu t.h e' :,
j ~jo

alh'"tcritic Challi"les ,H,at lIr1ri son, at t"he bm,e ~
"its intrinsic [ccnn,munica:tive] 'value is not altHred '~y its, p,resentation in, prillted. m:edia. The use of cataJogu.es a"nd. books to communicate [and. dirSs'eminate] .aLl"t is the mos't 'n@.u'tr.aJ Ineans to present new' a:rt..;;~
L ~-''''' T-ULe'''X'·" erox: B OOK .IS one

!Contr a"c:~ ~The iln pe'tus was 'to provid,@ a legn,l.ly b,inding dlOC1LlmBnt t:hat, would gr.an t artists SOlne eontJt""ol over ,theit""'works Ollce t]ley 'we:r.e SQ]dl.(Jinc]ud.il1.g ,the Jt""ight to vew an, eX]libition) and[ g'utura ntee them, ,a 15

0:r·'

tha·t

Siegelau'b re'.a.l ized ,dulIf"in,g the period.

I.'21

pl'\O]'t s ec

percent cut "of any Jluc:l:iease in the v.alu.e of each 'wo'rk" ea.c'h 'ti11tJLet is tr.a n,sfer.red in i the :iut u re. T,od,a.y, the Arti st ~sContract seelUS rem,a rka h]y pr~scient r a pl"eced,~n.t for the curlh'"ent European Union Artis:fs 'Resa]e R:ight,. or droit de .s'U'Ue. B,ut W]1 e 11,
jl'

I 'Cioutac ted the tu·t·]~lW'

S,]Jecialist

,Dani,el

• I • I
Mc'Clean~ a consultant at the London firm Finers Stephens Innocent and Siegelaub~'8 cnllab orator at t the Stichting
Egress Foundation, he explaine dlhow difficult it was to assess the impact of the Artist's Contract on future- Iawmaking,

m
1

e•

"There is no reference to this in the EU legislation, which 'was. based on French law, and the United States still does not have this Iegislation, except for -1-"e: .ILeus, ." - -- '01-' ',L ·C'""!'l . .•. -I C a liD·r~' ~- " h e says. F-"" M' ·... ea. 1, the Artis'~ Is. Contract is significant for being
'111- " 'e;;

"forwar d,~t'hinking and sym b (g,]ic. It is also a 11 incredible mode] that raised highly relevant que stions of whether and how far artists ean control their works after sale, a nd the differenc e between 1,-. ;].... a r '" WorKS annrl commocntres. ,:,0; O!I1;CJebe set tled in France ~Siegelaub's acquisiti veness did 'Dot abate. His small
I!.;

library of volumes on Oriental rugs was shi'¥ _r;.: ~ed r-r' om N-AW y.-:-o'IIik- ~.... DQ gnol ",~ ~!!'_,~,-d nn D n '. . ,.'. ov: ' .'5 .'.~
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:I star'te d to 'De -collee t! First" books on carp ets, and then Jrt€,xpand.ed to. ,81]1 'types of textiles." As Jvll[a:rtinetti pointed out, his interest in textiles 1'18.;8 othi ng to do n with fine art. He doesn't concern himself, for example, 'wit'h cent ernporary artists who use fabric in. their work. Sie,ge]aub's renewed Interest ill textiles after the Conc,ept,llal ,art period might have been :i II. some respects ,8 reaction agains . the overtly cerebral. ar world and ,9. de sire te ern brace an '{Db] produce d mos t]y by a ect

to try to buy or documen t every ill aj OI" huok on the his tory of textiles ~since the 19 th eent ury, " he says, "'O'F' at least I cal'] have the Ilhisian, Or the pretense, of going ,8. fter a II those things, Collecting textiles is, very different as each one is unique ~and findi n,g them is circum _, stantial, It produces, a oo,U.ection that is, very eclectic," In Prance, he collected mostly French and Italian silks and velvets from the 151'h to the 18th ,e;en"tulIrY "because it 'was what was there, and what 1 could afford," In Holland, Siegelaub opene d up to pie O~ s from the former E uropean colonies ~,A long teip to Aug trafia and Ne\v Zealan.d in 2002, Ie dlto his first encounter with tapa "o.r bark cloth, About a decade a.go ~Siegel au b met the tribal -ar t de aler David Stiffler' in N e;w York, and this led to a subcategoryin his. collection dedicated to non-European headdre 138 e s, including' pieces from Papua Ne\V'Guinea, Africa, Indonesia, and N orth A.m. rie B.., ~)~ realized! that there were e I 11.0t many people collecting this material," Siegel aub says ~re calling 'how excite d

be was to stumble UPOD yet another uncha rted a vena for hi So int elleetu al
pursuits ..WiU1 a surpeieing 'tv;rist of Icgie, Siegela ub censiders the, 'hats. .p81lh"'it the of textile collection, whether Of' not they are made of l'lat 11 ral fihers". "~Isee them as an aspect of textiles,' he saYS,-011Je tha t allows him much more freedom 'in the collecting process. Siegela uh doesn't seek ancient hats and claims to he looking only for "creative imagination.' At Raven Row', some of hi s best finds will be presented 'fin thin poles in what Sa ins bury describes ~"'e,fore 'SIIJ,;".....he'.Vi.. u .·.·S~ ...a '~A'" m-l·ter -,' 0" f" .• ad .... iJlre-,c;e ,d.!!U·.· sha ped hID. dlecor,~t~,dwith ]ions ~claws t a.nd[ teet]l" frOln Ule 'Bau]e peop,l.e 0] Ivory ,CDas:I' , will s'ha,re the Sp!o:tJi,gb"t with s.n Indian c,erelllonial be:adl,dr-etSSo used . d·l!.. ,er f'or ,ea rryrng ,S! W',£[t· Jug, ittn",. a s,Jl1arp1y poi nte d Columbia.n bonl1ert., But, of cnUfse, te~til.es will fOl'rn the bulk of the show'j, wh~ch \v11]be ,composed of what Sainsbury describes a.s .a ~\i;sea.of flr:a.g:m.el1ltsj~ 15thof t'hrough 18tl1L- cent UfY lluxury textiles, al,01'1g with an '''arCh,flE~Q,logicaJ' slection including Coptic" pre~,C~]lumbian! ,m,ediev·al, 'Centra] Asi.8!n,. an .. Islamic fa.'bries {s~l1Jle d
,Q Co ali:!;

group rather than an individual-ewhich
would have been in tune with his Marxist

sympathies, "Today, histolli"l'C: texfiles are not very highly a ppreeiated as the object of serious creativity," be wrote in the intrnducti'~n t,~ t'be Bibliograp hir;,tl Text,aia Histori.ae., ~~'O'll'~ sible v~ason. is (,b,a.t pos its very :1'13 ture a.s. a labor-in tensi ve~ 'c:oBective~and. often anonymous prod.uct is ,at oddls 'wi ill. d.ominant values of fhigl1. s.rt' ,e:re,ativi ty orlenbe d to'wa. rdl :i n.divjidlua I "fine art' ,ere,ativ,e "geniu.s. ~~" S,tiRl Si@,g@btuhi;s f2Uscinat"ion with
f

of London. The are a was once ,8. major center for the silk- wea ving industry and the epicenter of early organized labor movements, In. 'H1elate 17th century, the Hugueno s-e-Prctesta nt s who fie d persecution in Fra nee, many of' them skilled weavers-,arrived ill England, They were [oined in, the 173.08 by Irish weavers ~ and soon; silk produced in Spital fields .riv,a]e.dthat of the French, In 17'06" the importation of "foreign WI'OUgl1t silks and velvets" was prohibited, leading to a srlk h 0 om (a So well as the 'wide -scale smuggling of French goods, considered 'by the British. elite to. h~ more refined), The area began to decline when importation. was authorized again in 18,24" and silk work m C:IO:.'!C'i 'ha rd -won 'P'V"l-'V:,',' 1" .leP"E ft'' ' ''1(.] oCIl]ly.. Ied .n., lL. Il.l. to the deloc alization of the trade. Ra.ven Row is house d in 't\V,Q, former luxury ,8]]k shops once owned by Huguenot merchants, "The most beautiful chunk of' [Siegelau b's] collection is Europ €!i.an silks, ii, Sainsbury explains, "and that correlated b eau tifully," Siegelauh doesn't 'have any Spi talfields silks, but the ex hi bition will feature a sele ction of "forbidden" French fabrics lee ,etoff-es interdites, disp,]ay.edl in Ollie
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of the shops' former showrooms. "I wa is per f·ectLy COn.tiIBll'ilt.ji m u s,e So '-1 -,J Si:e.ge.Jaub., ~~I ouJd ha.v'e kept collectin.,g~ c fi.ndli ng' things, 1,o(D,king ,at thiem, ke e:p,i ng them in. the house, und,ef' 'the be d Of W berever. ,M could h,~ve gone @D fb':Ilev,er., t Now" th,81n:ks to Raven Row,. I~m force d, t-~ thi nk a bout ~il't,m.ore s.eriously: ca:ta IO,guillg the \vOF1~s, a n.d, dlO],llg .a n the'se things
I
n ~,

textiles. is un.doubt~dly in.t€:n~ctual: He
is iI1ltel'lested in the l'\oll.eof te:xtiles ill

his tory o,f ca.pita.H.sm,~,and h,e llSlS d.evi sed ,31n a:rchi v.al systelTI tll rough 'w]li'c]1 'fabrics ,and 'books. 011. the subject can be
t]le

o,rdered. ,]But t'here is ,31 so SO.ll1H thing very se dlUC'tiV8' 'to Siegelaub ,ab Ollt tbe m,aterial s themse]ve s.~ vis ualJly and :p'h_ysican Iy;, And although. he doesl1.~tsay it in so m,any '\-vnrd,s,-he has cleaI'ly let t'be pleas.ulre pnr.lnc'i pIe, .govern his 'Dollection ~ '''I~].1] gudlng'

dating a,s far back as ,the 5th centu rY)j, as well as a space d.edicated ,to bark cloths~ The exhibiti.on of Sieget?uJ.h~s textile s is p,articularly reJev,an'it to :Raven. RO'w':s location" ill the S pitalfield.s d.istrict

tha t, of course" ] should. ]lHve be en, doing all ,along. IfiS ,8 very g(~,odlk.ick in the ass.'" After. 25 y,eaJ's" can Sie,gelfliub f.3,e.e the end of I is be'bem.oth" border-l.ill,equixotic textile researeb?, ~(]don't s·ee it. rm stil] v'€ry turned un by it he a.nsw~r s~ "B,ut 1 can. ,ten 'you i'his: 1£, in the future~ I ,eal1 ft lld. SOIne w,ay, or sOlne kind of ,c)Q,]]a.b or.a. tion, to ,devellop ,a proj ect 011 the p,'hy,s]cs of 'time and ca..1Lu5ality~I'm.
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Key West is horne to some of the world's most renowned painters, sculptors, actors and writers.

From high end g,a~leJdes to street musicians. art
is ubiquitous in Key W'est.

fla ..keys.com/keywest

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W'hat better way to weat er t e winter' t a" by eading 'sou. ? Prlstlne beaches, bl -e water's, pa,lm trees, and balmy . emperatures pervade these t,WQ Florida, ge,taways an,d make the perfect backdrop for' art overs to per se this yea,r's Amer'ican linter atlonal _·n,e Art Fa~r~, Anini Binlol By

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m OUIr~ ~ltlId II~ctu n~s·= most
'~Wh© Owns, That Art? Consplcuous
iii otably

"V~netia,1Il1chalFti,d~liierg! ~,© Id I~~,1I,81nd h and=

,AMERICAN INTERN,ATI'ONAL FI NE AR'T FA~R
'WH&N ~February 4-;2 'WH Eft E::: Palmi !Beach CQunty ConventtiiOril Genter HlliG H I!.JGHTS: Dea,lle rs

painted

c.eiil'irIIg,$,adorn 'the,

BiiII Glliinton) have opted to c ~III the 64=Y~~,Ii'=old

C,ases of IN azl- E'r,a Rie:s:ttiltutliolt'iI by Rag er ~ Wa,rd-wilill comple'ment
jij

int:eriiors, of 'tthlh:~ mark, land wn lch ~ s,modeled aner
the, m,ag nificent vilillas of
the ltalian ReHii alssance. G ussts ~ISliO 11alVa exclusive access ito MO renowned '901f' courses:

111'11

e ,ex,lfilii ltlons. ~

eSO OKEEGH 08EE B DID. WEST PALM' BEACH
aifaf,corn

from

81rOllJ

nd the waril d

'l'otlh ann uall American Illnte rn aItiona,1 lFiine Art Faii r

wii IIIgather for 'the

'the, B reekers Aees .Jon es
and 'the Ocean Course. 1 SOUTH COUNTY RD. PAl.M BEACH 561 655 =66,11 RATES: FROM $530
a

(AnFA!F)~wh i clh! s hcwcases

THE

B,REAKIERS

beth C,I!l3!ssiicall and

contem poralt"y art and

jew'~IIrY. Exh ibii'[ors lncl !lJldie Galerie' Term i nus, from MIIIJnleh; IMlark Helll iia r 20th C entu ry Desl 9 n,

P'ALM BEACH M em bers ()f' the, R~:H:~k,ef;911;9r~ e:rb'i tt V:and and C,a.rnegie: f'amlilli:~s

Co,llony home when viisUii ngl Pal m Beach, Buill t ln the style off clasalc Briti sh Colo nhlll srchitectu re, the hotel reoent.lly III ndsrur8'111t a $~2 ImiIIIon renovation i ,~,fits 9[) 9uest rooms, s uites ~'VIi III s, a n,d a pe nthouses, GIIJ.estts ca n s~p coc Iktailis in the Polo ba r a!fter a, lorllQ d cay of re Iaxl ng on the
beach or sho PIPiing at
the' boutiqu es on nearb;y Wo rth AvelilllJ'~.,

thebreakers.com

m 8'V'e spe.nt tine III ig hi in tlh is, hotel ~oIMi'Qiina Ity flu ill'
lin 'the, '18910s,~,s'itlJ!arted on 1140visuailly :$ttrilking acres. along the oeeamront,

B,

from L.,A.;: and lmperla II lFiine B oaks" from INJ w 'fork" Co oktel I e

THE:COLONV ISrltlsh roya,lltty (thii nk the IDulke, and Due hess of Wi ndsor) as '~v611 iU .S,. as, pres iid e'rlrbs {iin clu dli ng

155 HA~MON A.VE.. PALM BEACH 561- 655-,5430 RAT E~3i': FAOM $440
theoolanypalmbeacnJc-OOi

11 The Breakers. ,2 K6 ith
Har.ing\s Untilled (Dog),
1983, wiU be an, affer at Ga.lerfe 'fer.m inus's

booth at this year's

:3 See Larry Salk's Summer CQckU~.il,Party
AIFAF,

witt! English Butler,

1961~at the Norton MU3eUm;g exhibition. "Cocktail Culture." 4 Key West's .re9 tonal spec ial tv: Key lime pie. 5, A mint julep at Louie's Backyard. ,6 One ,af Case. Marina'::; Hghtfined suite s. '7' Mark: Hslliar presents an

Archimedes SegusQ vase, CEIL 1950, at AIf.A.P_

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a are Tacita, Dean~s
o LIVE. AVE,~
w~)ri!<_s,

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CASA MARINA

The, a~clh! it.ectts Tho,mas, H as,ting18 and dohn M. Carrere, '~hed IUrO ahiin d b
the old Memropolitan Opera

'tthey've been serl/Jiltilg up classic F~enC'h! d ish!'e8" Sill chi as lobster fri Ca.8s.ee and roasted duck, iin
1

'oo,r Seven Fishl ts worthl itt; '~h!e'~ropiical decor
and comfort food have been charmingl
lslanders for' years.

venture ,seven yea rs, a'go a has, since been deal i ng 01111 the priimlaJry

no

Ml9!Y

photo-based

1,451 SOUTH

rattane ,and a m iidcent u ry M u reno gllass co Ile'cttioltil" 30.11 SOUTH D D<]IE HWY.
WEST PALM BEACH 561- 659 0403
1 -

H OIUlS€'!, Nlew ~Vbrk~, ilrl! Bind the New York. Pulbliic.

a, fX'j'ZY ,setibiI1Ig. , 32 NORJiH COU NTY R [).

632 OUVIA ST.
KE.YWES'l 3:05-296-2111 7fash.corl!

market, She rep resents SIIJI'C h artists as Li,51!,!ilJ A.rli ne A.uerbach ~

561-832- 51 ss

W EST PALM BIEAr;.H

no rton.org

o~ctsinth€loft.GOf'fTl

PALM BEACH
561 ~B33-1 '111 che4j'ean -plerre.com

Ubraryj ,origllinally desJiglned this stunning ,31t-ro om hote I~which opened lts doors, iin 11'920,and has
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It-

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!recently undergOIi''i'9 an €';:dern~i'IJe, cofriendty € 1r€:niOV.~tiDfJlI", 'The, Ihii$'tori:~

LA SIRENA ILa 8iir,en a diellights, d iiners~ palmes with such clla~~i~ as saltlrn boeea alia.

LOUIE!S BACKVARDI
The ,chef Doug Shook
lovi'rngly cultivated this re.sta!lJIral1lt~s off~~i mgs fa,r more 'tn1an 23, years.
h8S,

Phililip Estlund, Wadle (MJyton IMIiy,e-on lee" i and P,ae W hii te. Thiis 1n10 nth tlh e' ga,lllery sh OWc,aS,6S wO'rlks by .Jac k lPii rson and e
j j

l.UCKY STREET GALILIERV Opened iin K'ey West ln 19183" llLlc~y Stree~ woriks, witlhi both new

M-e.D,~rmoU &

M,~G'©"UI~

h.

WANDERL'UST Thhs boutl cue's o'wner, Gasey crockett, o,ffe,~,s, objiects, and attire by artists and des i9 ners
both local and tar-fl ung =' frern Son ni Kenu'= H elms,
'W he

24913 W'OATH AVE.

end e~tabliish~~ cont~mpDra!ry artists,

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edifioe wlniiohi served as U;,s,. Na,\fY' officers" quarters d ~Iriing Wcwl!d War IIII end ,as,a U.S., ,Army post duringl the Cuban missile' ,cri'sis" 'featlUlr,~ a.
j

lRomalnB, ,and rig,at-lOnii allla'vodka; Save room fer dessert-the, rlcotta cheesecake wlilillmlai!<e 'you 9111ad ')fOUl did.
6316

D;ishes; such as Bahamian cone h chowd'er w'ith biird-pe~pe r ho,t sauce ,and
'with baco 111! m U sbrooms, and stone'Qrou 111 d glriits are served

PALMBEA'CH 56" =833 - D5 83
gi;. v I2Ikgal!etY-c om

so UTH

D IXI E 'HWY.

s hrilmp

S 81Ult,eed Key West

pink

01n 'th e second of this rnerrth, the 9 ellery WI! 1I1I show ~ISeaLevell/!' an exh iibUion or oil ~a'intinglS,
by Miicha.ell II=jj.a.y~ilril.
540 ,GREENE S.Tm KEY WEST 305 -294- 3913
ll.!ckysir.aBtgallerry.oom

crafts handmade jewel rY'r to, Cal iiforn ia lab el 8y n erglY'i speclall!Z! ng il!'i!,o,rganiic cloth i~Ig.
31 (]I P ETlRON iA :ST. KEY WEST
305-,509 -1065

~~1200='footpriva.te beach,
1.5,00 R EVN OLDS ST.

WEST PALM B~ACH 561-585 -3128
lasirsi'ia.onl Fis.. om o

KEY WEST a a B-3 03,- 5717

RATES: FRO M 394casamarina;r,eS:OIJ"t-com

s

EAT
BIST'RO C:H EZ JEAN-PIERRE: Since the ch ef-owner Jlean~IPiierre Lever~ier and IhIis,'Wire", rNlicol,e~opened i this French biis,tro iin 1991"

:SEVEN FISH, Fresh loeall seafood such as, m~alhimalhr! scaJllrop~t~~lf1dcrab m,ay be the spedi.al~.y here, but d ~'I1i"t 'Torget about
the other dishes, Ilike'meat loaf Bind banana chicken.

in !the intl! mate arm ,o,f an oceanfno,nt Victori'an-era horne,
700 W:ADDlIEll ,AVE.

em

NORTON MUS,EUM OF ART 'The, exhibiij'.on "Ooektal I Cullum,!~ rllJlnningl thr,~ugiml

'W'and8fhl.l~kw.com

KEYWESl" S,05~294 g1061
looiesbackyard.oom

March 1111~, eXB!mines ,the rite of the, cocktaill hour throLU~gh tthe priisml of fashion aJtilddesig til~with more than 150 ob~e,cts., iir1,(;ludiing attire by Yves
Saint laulrel1lrt" Valentino, and Pierre Cam iin~, 'well as

SHOP
THE LOFT' Specializin ~ in :2 Othcentu ry d,~sign~,h ls t g alle'ry 'Te',atu res,

OBJECTS~N

BESA,ME MUCHO Thi$ apoth ecary deals in charm sand lte ms 'ror tih!'9 horne as weill as classic favo rites Iiike Sm ith's
Ros,~bud ,S,alv~ and Dr, H auscbka's orgl8 nic Ilii ne

SE~
GAVLAK GALLERV Sarah Ga\lll elk ope ned her eponvmous Pal m 18 h eac

as painttiings~, decC)1ra,tti~,~

AI~houglh it's tucked away from the tourist 'ttho.ro~ 9hfaJres~ the search

artworks, photog raphs, and iIIustratti:ons 'fr-om the, 11'9201$ the prese tilt to AI so on view IlU ntill

furnlsh ing,$, by Edw',ard Wo rm ley a nod Harvey Probbe,r almong otthe,rs.'not to, rnentlo n viinta'Q,e
j,

of skin -care products. 3,1.5 PETRON~A ST.
KEVWEST S05~2 94~ 1925, b esarnemu eho, n et

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are the focus, of"~]Don't Like to Look at Him, -Iack, It Makes,

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:Me Think of That Awful Day on ~he Ialand," Ford,~s.fourth exhibition at the gallery, The main event is. a. series of three epic works depicting a. rendition of King: Kong's face as 'be moves through distinct emetions; fear, anger, and, fi,nany~a. sort of pitiful surrender, These paintings depart from, the naturalist voeahula ry that Ford ]8 known for; the works feature ,8. cinematic ape, nat one that's lumbered off the pages of a zooI,o.g'Y textbook. In the context 0]" the gallery, they're aggressive and impressive: Stand in the center of tbe room and you're surrounded by a. panora ma of ape pa thus tal] tongue ~teeth, and flared nostrils . Viewed up close, .ona one- by- one basis, 'the details aren't quite as fine; certain aspects, like the snot pouring out of KO'n~s snout in the final painting, are rendere d a bit earteonishly, though perhaps that' s the point, Ford has often inscribed the backgrounds and. margins of

R:E:VIEW'S
his. wa tercolors with a. riot of m ultikingual phrases. Here, he goe s easy On the verbiage: The only text on these paintings is 'the title, of' each and t"1933," the year that the original King Kong film d "1· ,,,,l iEJi'I,Flir;'l ~'~ three g'; ant ape ~ a Vi\;Q,th r illing: on- hone e 'UI.k""~'i<:I tha t th,;Q, W, ,Fii'll",l1...~ J.~.I1.1L.1l. IU. ]l;'J!U,_y',iO .. P''r,;:'''~'1I<1Il·6' .....·e' 'V' ew ,'e' 1·n thi ~ space stay together, since they're most effective B.S,.a tr.ip'tych ill the round, In t]l€- adjacent reom, the artist has taken inspiration from an incident recounted in the memeirs of John J.am.es.Audubon, in which 'his mothers pet monkey killed his. own pet parrot, Ford. translates this- small anecdote into a. series of six paintings imagining' the progression of the animal-en -animal killing, though in each he Bub stitutes a diffe'r-ent species of monkey a nrllparrnt .. W'aUonFord The paintings' details are wonderful" from 'incidental still Iifes of fruit and bread The Sccde' 0" Na:fure', 2011 , to intricately rendered background landscapes, In Unnasural CtHnposl/;,re ~ 2011, a. WO'~euooIOlr, fiery sun sets. on the hori zon while a monkey rips udfr a parrot's head in a bloody gouae he, l~~neil!. a nd in Ik onpc per frenzy, Did I mention that he's simultaneously ejaculating? Indeed, Ford's 159x 40% in. series here is a. veritable catalogue of primate penises, from the tiny, pink, and. tumescent to the wi]ted member of the final frame, which resembles a worm that's been rU.n over by a steamroller. (If I feel weird 'writing about this, then Ford must ha ve felt r:eally- 'we.hrd pa]I'JLthJlg it.) The connection between these two bodies ,o,jfwork ]8 tenuous" if it exists at a 11.But the show' provides an excellent opportunity to witness Forddoing what he does. well while also setting out in a very different direction, It's a testament to the artist's confidence that he's made 'that Latter lea p in. 8" Kong-size fashion: all or nothing, Se ot.t I nd ri sek
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during the pinnacle of fue global 'O\cC1LIPY Wall Street movement, and it stayed UPI through police crackdowns in Oakland and :New 'Yo'rk~ Such a. topical background lends extra resouanee to this exhibition ,~f2011 pieces 'by Claire Fontaine-can artist duo

working under a fictional
pseudonym=which takes brutal ,8LhD at both financial and. art world excesses with sculptures, readymades, painting-is" and videos that are si m.p,le yet ·biting. Richard Prince is conscripted, a s a punciUl,g bag a fitting
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tim 'transrrip,.t of a conversation between two self-eongra tula tory ewe bri ties can be funny .. They play on the multilayered nature, of' applll!.'"opir.iati.o:n~liFting' the words of the most famous B.PP'lo.priaLti,on artise and, in a gallery context, 'using an aesthetic style appropriated from that same artist, The majority of" these "quote paintings" are hung inside annther piece, Untitled fJMngl'e Gy,n), wInch is cemposed of black construction scaffolding that reaches to 'the ceiling and is ,sU'1,iUlg 'with Christmas lights on one 811Ct n the same, room, a SiB~' ries of ,5,S· allon trash bag's." loadg edt with empty cans, hang'S from, the ceiling on strings; it seems .appropriate to bump into them, to:. ~· ..l~ them s·..·~ nging 'II The IJll.i::IJ.· ,':.~' " set .. !Ib.I:, -"WI· ::' ,I, .,i.Jl. .. - 1':!Ib L ang ing recyelables mirror another
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mechanization; the pain implicit in getting one's balls caught in a machine) . Grain inj ur-ies are also a recurrent theme in one, of the videos from the duo, Situatione, in which ,81 'Ukrainian ex-bonneer reaches W,9LYS to defend oneself For .30-plus minutes we're
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so-called better future; ehe possibilities of radical action, The Iat ter is suggested by Gather in.
lnu Uipl'e: groupe a. 'text- based
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treated to a min d- numbing array of "situations" that can arise 'in
a 'hypothetical '\-vuiJ.d where violence 1;8 the most common form of social excha nge: Dude breaks ,9 bottle on, your bead; dude holds a. knife to your throat: dude insults your' wife for being fat, so yon smash his kneecap. The sheer volume of antagonistic possihilities, Jeaves the viewer vacillating between laughter and shock. Language is key ti1.r.OughOUlt «Working Together," The show title itself oould mru: to .a numher' of things.; ·the 'pomp-Oslty of the P,rince-J,a,cobs ,colla'hors·ti,on; the way.in which .JuJlil~icallPa.rties and! fil1L8!DCial insti.tutioru; inter~· act, with :popu]aces to ensure .tl

work rendering advice to protesters in silksereene d ]ettelrs: '~'~Fi;'lii"" .,uVu clu .w;.''UI'J.in into I,,-,~S.!)!QJ. S., D'Ci,G~,e' II;:;ilILIL.u:1J ' ','lIii ."~I 'a'!Q8 yo,w bour .JI;1!dari ;:""andu d1e"';.-.nd u.· .-, 'w .'. , them. .B,~ mobile." Perhaps without the current backdrop .of global financial unre st, the Arab world. uprisings, and the OCCUllp;y movement, such words would - . .":'l " 1'" ·11. reac nostaigic B.I]"y,: 'ill"'1 k 'bioc u Be ~. .....
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Seattle, or the "Sous les pave8'~ to, pl'age~l'of' Pa ris in May 19H;8. Instead, Claire Fontaine has found. its. rallying call, and there's nothing backward-looking about it. And despite the pair's 'public: statements and interviews ~ which tend tJO be rote; stiff, and

protes tors breaking windows in

chofue cOllrsidler-b,g 'the ,art s.tar
fumhled throu~;h an,d ]ost a. court case foI" app:ropriatil1g tIle Ra.sta. p.hotographs ,of .P,a:tr]ck C81riou in 2011. 'FoHowing tbe ba,sic f-']r'=
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~£Wo'rki.ng,rrogetherl;j proves t]la,t its, radical politics
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snippets of a Q,&A bet-ween Prince and the fashion designer' hfurc Jaoobs that ,SlIYpeared. ill an . Issue 0:fB•.,rltts1 narper's' B·.'a.zar.t.r. . .. 1U Tbe topic; is their ~ijUa bora t-iou on, a plli'"ojec'~tbM' ,Louis Vuit to-n, In. The Most Subversive Thi'n.g~ Jacohs earnestly CO.In!Ja:res the ,com.lTIission to M,a,re'el Ducha,mp's defacing of the Mona Lisa; ,ano"t'her piece, I dfdu"t r,e'~ aUy kno'w' what I was ,doing ,/J.ul
UntH'Jed (R:edempUons), 20111"Reeye led cain S, 55-go non

in the s·ha.pie of a tiny pla.stic ten.nis 'OOtrrt and :is em'bossed with tlle nalne Lehlnan Brothers. TIlere~s another readymadl.e in the next room: an electric:

]s.}1_':t drab p-ruemi,cs,. They ,all tn IJ..iiiv·'G' i-G' -111~-In'be -r.-..tl....1l1 "a- .u..lL L ~-rbUl. import8!l1t point: The reroluuon will i1.ot 'be ·humorless. - sm
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to ~:holBe found. in hotel ~obb]es" i"nsta]l,@d at lIoughJy crotch
height and entitled Flu/fer,. ]n SOlne ways it~s a. quintessential Claire ~ontail1e piece, 'Wilth '~he wordlp'llay (,'1lufle,y".is the p:Ol:n·' indUstry term for an assistant who ,g,ets lnrue sta:rs ,t~ stand 8.

t-hats how 1 ;wo:rk" tabs its title
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c I001 r be Gis.,C! Ii1d ,diisco, DO III mo,t,or.

of his o\vn creative m.ethod, T]le text painting,s are jfunny~of oour8!e.~ill fIle WSly that ,9. verba,·

attention beiFore a soene) .and the OOlnp]ex 'w'e'bof hig;]l- and IO\N·' brow associations. that "the sim.ple setup imp1ies {the ,class dyna.mic af ,shoe, sh"hJLil1g; th,e nature of.

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film installation Srd Degree, 1982" suggests an act of severe burning but also the ide,at of remove and separation. The work is oom~ posed of three ]oijp.edl 16 mm moving image s projected side by side ..'I'he first shows a woman waving a Iit meteh betore the

TI-I:ETITLE OF S.HARITS~S hallucinatory

camera; the image appears to catch in 'the, pl:'ojeetolK",jsgate and burn from. the heat of the
bulb, In the second strip" Sharits rephoto-

gra phed the first fUm loop (burns and sprocket holes included) and set that film, on slow-moticn ftre as well The, same process was applied to' the third and, finalloop~a
film-within-a -film-within .,8,.111m~ow just an n abstract hypnotic 'wash of melting emulsion. But these en-screen Images ave olily aile component of thjs installation. Clunky

pr,o)@c'tors.are set

pedesta Is; the images vary in size and, height; and the sound of a woman's voice can be heard echoing throughout the' room, It q]uickly becomes evident that
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both of'which axe considered Ina sterpieces of structural filmmaking, The film scores
(notations and diagrams) used to create these movies are also on dis.p]ay Bind110,t only provide valuable insjgbt into Sharits's creative process but are also stunning graphic works in themselve s, Les s successful are the figurative drawl:ngs of infected limbs. \Vhile those artifacts

of instcuction and. personal trial resonate '} _1 ,. 1l. 1l ,., h~ "cill '~' f Oil some ever with the visil se ttaws oi SharitB.~sfilms, they undermine Iris intent to hi h " erea .....8! umverse ]11W'•.!C.. CInema ai~'l d e J uoes
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rendering visible the mechanics of the film ~ making .P~OOOSB itself is as essential, if not more so, a s anything ha ppening on- screen. Brd Degree is. €u\,;,@mpmry of the rigorous
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process-driven, organisational schema that defines Sharits.is best-known films, Ray Gun;
VirU8~1'966~and. ~IO~u,.C~H~L.N,G~96·8" 1

not 1..~:ng'v utside 'of'itself On-ly when stand ',- . -~~'- . JIJ~-D .. , o " ~ fJt ," ~~a ing in (he darkened room surrounded by the dynamic mechanics of filmmaking can one appreciate the metaphorical complexity R ., ofth e wor 'k '-.',ozal I'" J ov'8.nov1!.C ,I. '" ra J1
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Leslie Hewrtt
D.:4.~;t;€'UO1erru-£1 J! o.ctobe~"1l9·-December 23
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MAK]NG SEN'SE OF ,8Jl1dextractrnq meanina 'from Hewitt's conceptuallv-dnven photographic practice can be quite a cha]'lsn.ge" For in stance the senes of seven 'photographs that consntute "Blue Skies Warm Sunlight~;" Hewitt's latest solo exhtbitton. delivers little, 'if
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any, overt visual evidence of what the cheery title forecasts ..WhUe tiny

images of cloudy blue mmament and bleached -out snapshots of sundrenched suburbia .appear in some of these photo graphic sttll lifes, thetr shared toea]. point-as with herprevious series "Make It Plain," .2006 end j'IMidday; I" 2009-1S a raw plywood square that dominates most of
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the compostttons, an obsttnate obstacle to both vision,and!meamna
In. these siqnature series, Hewitt rep estedly photo graphs. objects, books, and photographs-often of polincal, social or persona] s..gnulGEm.,ce~ll1 varytnq. seemingly unstudied confi.guratiGns. withm
her studio. The carefully conceived. and crafted results, are rigorous.lly
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selt-renexive statements about the ontolooical conditions of the ' 'h' .t1lcht lblv In J P h oto grap.1C places 8.; t hi ex]h "b'" ]'80 ltlion S ut e rmqnt possin Y l d-I cate
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the specific condi tions of light under which it 'was create d. Produced in editions of three, the photographs are presented inside hetty but simple wooden fr811Jl8S that lean again st.the 'wan; thus. asserting each picture's unique ob]ectho 0 d.despite the medium ~sreputation fOJ mnnt te reproducibiluv And though a single photcoraphic act aeals a parteular -,'," I :'-, '-, C0.[111''', tion In spate an d,',-"lffi@I' thesen ,I as. a ',: 'hol -, I' "I'lnd '':', Qlura.'-'I.': "', l',' ~",',.-: ;-,'-', , "",- t' -,"- ... ''''., l8 en...-8 .' :--_ W.o.e Ine}[eS ],on . 8 , --''''~ the p asseae of time emphasiatnc the, con Ungienay of each spa tiali arranqemsnt and thwartmq our attempt s to draw specific meanmq from It. Thes e works induce a response that is contemplative but aporetic. A pap erback cOPY' of 1969~ The Potttica of Rvtest-more commonly s
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of protest and violence prepared. in the aftermath of the ctvil unrest of
the 1geQs=oiten P,jf.OPS up the plywood square 'within the image,. A reference to the FJ8Jb Spring the book's inclusion hits much closer Eo horne in light of a -r6tinvligoratedculture of nonviolent protest prec~lPlitaled bv the ·O\"~.r"'li'I'1I'P"Y'W'· all lent strateoies JJ}o ".' C'l.· u.:", .._. ...S·if'1f.aa+ movement and th a. often ~~~;;O' u· a~·· ~'" JL .U-.lJ.L ·u.lJ.L that local govH-rnments are deploying to quell it" Llke the blank square, the, book is a blind spot; paradoxically drawing' our attention only to deflect it onto the changing elements and conditions around it This openness to interpretation might be both the strength and the weal{ness of Hewitt's work, -M'u;rtaza Vali
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~ul,Shglib (Jnt/flee)' (Frozen ,Fi/nl' Frame)." co" 119711-76, 161m m 'mll m strl ps
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known as the Skolmck report, a governm,ent study on the relaucnshi p

ielOnic' images, and they repeat

themselves internafly, via the use of' series and. doublings.
Tbe exhi bi:tiou offers some

pleasant surpeises, such as smudgy 1'988 paintings
of creatures from. G'eorge Herrirnans I(razy I'a~ comic

strip, executed on wood panels, Each gal]ery contai ns one painting with bars of alternating color from Levine's 1.9'85 ""B,road Stripe" series; recurring Iike punctuation paints, th,~yare seemingly meant to evoke some kind of

indistinct

of Abstract Expressionism. (Levine has.
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s aid! that she began on the appropria tionist path after realizing that, everything she did! as a young' painter

already seemed to have been done: "There was no w.ay to do

it better than, t.he New 'York
Mmimalista were doing it" Eventually, I decided to. make that a. virtue, as opposed to a P'I:O blem, in my work, I')
Levine is, undoub t e cl!]y all

importan t artist. And yet ~it
s.trik€ So me that she may be Iess releva nt to dla.yas a :6. gure
re spon sible for a ny Iarge

lWhitney M~~,i~~U.nj A~'utric~nAri /1 {,f No u<ember 1 o, ,2011'-Ja:rul ary ,2,9, 201.2
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because the whole show feels deliberately spare ~a Imost eeptu -1];I'?ati on 'TL;bio:g[) rt~ 1~ID.r~ herself has choreographed the idJi!o syncratic selection of 'her work, aide d by curs tors -Ioha nna B ur ton, Elisabeth Sussman, and Carrie Springer, The art i8 displayed in no
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of artistic horseplay 'with four .... I!iJI I...... "" ]1 .II.'IU . lLJi.U ·0- bjects •
In the next room, two' pianos face each otOOI\ Ol1~ wi t1l a ,c]ou.dy white east-glas
copy of Constantin Brancusi's

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singular innovation than as an early bellwether of a new thi ki 'way 0,.11 tnnurmg, She's 1 ',. e ess a Courbet, in. other words, a nd m.. of a. Constantin Of1@
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Guys., The Iatt er ]6, of courae, the subject ,0.1 Le Peintre

LEVINE;S CAREER READS

Iike

Newborn-a, notched, eggshaped a bstractiofi.-set atop, t, atte 'IU a.o.;,. ~··.'I'Cek J Jli!,.I,; th e· oth. ur'.. . . .~. v, IlJ....lll.cl [lla
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and, supersubtle, full 'Of art= about-art games, She carne to
prorrrinenee ]n the 1980s as.

pa rticul ar his toeiea 1order and offers. no clear sta ternent about

for the
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Brancusi- on-a -pia no image

part of the Pictures. G,enera.tioll, the constellation of New Yo.r1k figure s-.among them, Barbara Kruger, Richard Prince, and ,Cindy Sbennan-"who pioneered various forms of photo -hase d and appropeiationist art, For traditiona Iists , Levine is perhaps 'the most infuriating of
these provocateurs because she has often trafficked in near .. exact copies of well- known werks 'by the Iikes of E,gon SChjellB, Edward '\\!'es'bnn" and other acclaimed artists
~ rele'lr.s. t,j!,. '11li.ne n '\-va.y she plays havoc wi-tA],
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the development of Levine's trajectory ..It focuses mstead on half-articulate d rhymes b etween ob] ects and images, 'I'he nrr5rt thing you see
as you enter the tga]]el'ie

which have

an been pain ted
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muted gray, is Levine's

of copies 0.£ Depre ssion.era Walker Evan s photos of hard-

magazine spread showing the in terior of ,S collector' s house.) The focus in, another gallery, four large billi ard table s~each wi ttl an identical 00 nfigura tion of balls, is at sculptural ]fe:a~iza:t]on of ,8. n nnage from, the Man Ray painting La Fortune. Ait the end of this sam .. room. e is,a wan, of 18 framed postcard
versions of Gustave Courbet's

Painter of Modern Life"), the poet Charles Baudelaire's influentia 1 essay Oil modern art one of the Iirst significant works of art critiei BIn. Few people now' remember 'Guys's
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pressed farmers, abandoned
farmhouses ~and, makeshift graves-e-her star-making outrage from 8 1981 Metro Pie lire s ga Ilery show, In a glass ease near "After Walker Evans" is Levine's cast-bronze replica of a men's urinal from 1991, a gleaming homage
to :Marce] Ducha m'pj'g icon.ic Fb Mnta:in that I"€:mincls the
viewer .of t'he long history

~OOMTOP;

SheriJ e.Jl..eYilne·

painting of the naked. torso and spread- eagled 'hi rs ~. J' tt -g'h 0f ,Swoman, L~D· rtg~ne.,t!:U t• monde. The most recent woO,rk]11
well-known
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The title of Levine's; current Whitney survey,
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·g·I,CJ~ ~ ski ills·0 fr om 2~·'O"', " u· '. .10·· displayed in identical vitrines a. play on one of the most venera'ble sy.m'bols of serious
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exp,ecta. tiol1LS ,al~ou't o.r.igh1La.lity~ 'but it is ,also S Q"m.ewha.t ironic

:art" Levine's pieee;s are all vari.ous kinds of :r,epetitio,ns of

REV EWS
an emerging' :8 enaihility, ]n :1~N30~appropriation wa s still difficult to pull off; it
wa s a m,tJrtter of asymmetrical warfare between thos e who

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controlled images and, those '"7ho didn't, 'To day, appropriation is the native, sensi biljty of rrrilhons of Tu mhlr and ¥~uTube users, ~~',MB.yh;em" offers ocea sinus 1hints of ]10W an altered technological context has changed thi S artist 'who is 80 'Obsessed with the \vay context cha nge s things:

CRIT]CISM" AS THE'Y SAYI is autobiography; and I freely admit that the reason l find Karl Haendel' s show moving may be because I'm close to tl108 age damoqraphic it addresses Theis about men 10.then 30s; I'm 3:2. Hasndsl W,81S, born in ~97BI and Ouestions ,tor My Fa thB:1~ 20~1~seems p ersonal tC) 'me like an oblique interrorratton W lith the aim 01 diacovennc wha t that perncular moment in one S ltfEJ.' means and teels like, The Los Angeles-base d artist is known for his ravtshlnq. super -det at lied gra.phi te drawtnos, 'which are often hunq toqether salon -style or in. install ationhke thicket s. These works have a frozen cerebral quality, at onc-e lush and s omehow emotionally removed, Though Haendel's Questions ior My Fa ther evolved born a series of text-based drawings of the same title and theme, the work
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Levi: ~ c '. v,~ .' '''Eq,I' ]V,d_ 6ll'!l.S", uivalei ." . C'Vlne s clever series ta kes Alfred Stieglitz's divi ne black- a nd- w hite cloud
photographs of the same name and reprocesses them into p"ilds of 'variously shaded gray blocks that correspond to the different ''''';:,,'a-' P -; ] te Ul abs t'.... on',::;' c' ~11 acti i3" nil" of (he source material, Farha ps the he st pieces ill, "May hem" are ., ..li. ~, ,. ,. ,. L.evme's "M.e ItWOWll'· paintings, for which she takes a WOJr.k by an iconic mo dernist fi,gULre~ Ernst Ludwig Kirchner, Piet Mondrian, Claude Monet~th.en
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these tnqumss are all addressed 00 the men's dads, To make the nlm. Hasndel asked. a group ot as societes to 'write down questions th.at they might want to 6.s1\their fathers, but never wou lidand then coached them a 8 they directed these to the camera The results are, even- keeled! and honest self-conscious but not particularly theatrical The cuestions cycle, 'loosely through common. themes" "Do you have- MY' reqrets?" and "How many women have you slept with?'I; are echoing' refrains" But
also gra.dually gets hints of the men as-individuals 'with particular histories and paternal '11 ,. 'Ih. 1k I . ? retatrons hiIpS. ',~W' d'I,d.you '11::·nOV1/ was gay! one as k '~~D.you a Iways k now you W'6re gay:. ..··uen ... ts. ,.··1d .
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formula that has heret-ofore proven successful for the artist. Most obvtously it's a 'video (a collaboration w-nth. the Ne'w York-based ftlmmaker Petter RinQibQm)~so the artist has eschewed his usual graphite 'wizardry" And whereas his drawings have the 'immediately salable appeal of being evident feats of intense artistic sklll, the vtdeois almost wiUfllUy artless=so stralqhtforward and, direct that it would be easy for vieW'SIS to miss its subtle, compl ex ity" Basically, the work consists of a 1.2-rmrm te loop, featuring a. series of talking heads framed against a black backqrnund, asklna questions into the camera. After a few moments, it becomes clear that
from the

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uses a computer to find the
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paints .a canvas entirely with the resulting hue, "Mel tdown"
offers ,81 neat contemporary spin on the well-worn t:raditJ.on of the monochrome. The fact re mains, however,

an its colors and

that Levine's work doesn't feel
a B if it pa.rtieula rly relates to the carefree, image -swa ppi ng zeitgeist of eentemporary digita Iculeure, At every point

it feels reserved, withdrawn
even,
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own in telleetual theories ~ ,8 nd deliberately dliscrelte a.nd standoff sh. There is. a,
simple reason, why: Levine's preoccupa tions Bre fi rmly wi th the art- historical canon, not with anything so tacky as popular culture. An a.rtist S:UC'hL as Richard Pri nee can feel relatively COlI versant 'with the present, :in his, cynical way, beca use his allegiances are

always the one asking the most uncomfortable- questions-'!~D'id you ever have anal sex wDth Mom?" is an example. You
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asks. the next: One, a white man, wants 'EO know, uD'lid 'you support Martin Luther Kiner?'J Another, , 'd" -,. -- :11", ' ,-' " ,', __ 'EJ;S,1:8' -h-''h?~" evicent - ii-l'Y'-, li,' an iraman- A""msncan, a81\'8 '.1HD:-,"d- you ever pro' te tth sa ,-~ ,'
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t,be prod net of' a tran,sitt:io,nal mo'm,en1t:; wh'~l1 o]dl-,s'tyle high ,art "]J,uri ty ce'a.sed to lTIartter' btl t
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s.till had'nj't lost its-llold. on the cre,artive' .ilnagi na tion.,

HAre you. happy?" In addressma their absent dad s, the men. are really asking questions about themselves. Again tt is H aendel who asks the c1entlal qutesti.on:: ~When did you stop 'jfeeling l]~kea. :b oy? ~';lVhat th'8-wOlk captures is the sens e \ of that turning p oint when 'bfe stops benng scary because it ',s full of dangerous possibilities and instead st arts to be scary becaus e it seems t.o have a. defini tte and. ,iLnevitablie sha:pe. ~~'How it end d.id up this way? you ask yourself ~~Is the 'way it :nssupposed to be? Is this it? Can you telllTIe?" 'tJlns
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can ten that he, wants the work's effect to be almost embarrassing, and it lis at moments" The, themes that spill forth are not unexpected-esex, money, iP ohtics. sex again. and, of COUIse;, an kinds of oedip Bin bag g,age. But it is actually d urine its. most se eminqly ordinary moments that the fllm hits the hardest, As it ,goes on, it makes the Vl8\l~l'eI dwell less an Ufe's mOI,S exploslve and melodrametic turns and more on. how questions that are S(J. basic and obvious can go unasked, 'l'he overall pace is not frantic" but it becomes relentless, a steady lctu s of muted longjngs doubts curiosities, and regrets" There are 'wry moments" HDo you 'ever ,get metaphysical? one man asks, his eyes twinkling. ~~Why you wear a tuxedo to my play-off game?!~ another demands, But did some of the inquiries are quietly shattering: the 'words "Are you still alive? ~~ hang m the ail. The most. powerful ill terre galion may also be 0118 of the simplest, with the man w,ho utters it tri pping
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B,en:Davis

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Ka.ri.Haendlelarnd Petter Rili1g,bom Stiilll '~rOlmtlhlS fi Im Ques:t:tons For My Fa ther. 20111, 11 mli'n, 117 sec"

REVIEWS
. IS .]. dC ,8. srmpie .P'l€ ce OOD"lPO sec OJ! a series of fluid ink stroke s that represent a b ody of wa ter and a. man paddling through it We imagine t'his figure, pushing against the curren t~ lUu b..... ~ wi ng hi,'W- elf Th' l'·b ~ , drs ~U a theme continues throughout the exhibition, includi n:g a series of' photo -collages th at 'pairs r'ivers and. canyons-s- the eause of erosion. a nd its index, 'respeetively=-with images of
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In. the back room, there is a 'pustseri pt: a series of found plastic halls ~Hipped inside out ·to resemble N eolithie swim bladders, spewing f~orh ,8 t .t f d m 1 xture or cement,t re SH'l.,. ano paint. These balls perched a top pedestals=-found 0bjects such 8S .fi le ca binets and shelving units-suggest Iost monuments waiting fOF' someone to push. aside the undergrowth in an overgrown subu rban future and! discover them, That fi nal 11110 GIll. raise So Ia rger questions about the re rospective mode, in that it somehow exists. both ill. the pa st and the present, In her book, A Voy.qge on the' North.
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in. Baxter's photographs, Nex t '0 these are a serie S of prints inspired by
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Sea: Art in (he Age of the Post_..,.,n:/lediurn Co ruliti on, the
critic: Rosalind Krauss points

out that a s VB rious media
become indisti net, ,ere,sl'tive work must get at the essential in, art. By doi n g exa etly this ~Baxter sets himself apar-t from the Ieginns of sma.ll -tow 11. biennial ar'tista-e-those wh.o crea'l e ,S hi t- or-miss ptactic e ou t of varying IU edi :8... While the pieces here are all more than capable of standing on their own, t]l,e fun. lies in their' u nexpe cleo yet easy union, In "Rompelotas," as
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Ma ti sse rea ehed a. sta te 'Of syntheais hy, ill. the art.ist's own wor d Sj; ""...:~ , ur.aWU'JLg'di rec tl y '1 in color," A si milar ambition marks8· tho,",6 op .....1·.r 1:"'1 work.... J. the.i6 n n g .~' I in .. d ..... . " ...... ':Miami native Bhakti Baxter's first hometown show in four ye art; enti tled "Rom pelota s,"
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A small colla ge reminiscent of Matisse's autumnal style, hangs in 'Ule' gcG!l]ery" s office; in the front room, a. r-e-created version ofi t using expanded polystyrene foam and plaster, Roo: Beer, 2011, stretches the collage's feminine a rab e sq U€M3 '~O a n impre s sive eight feet ta'll. The ,gallery walls are pa inted t he same shade of green as, the collage's ground, wl ich effect ively tu m ~ ehe~ enti re ~P!,!,ce 1· nto an Ilbl.il . t.~&. ~ I· ilWru installation on a gra nd seale ~
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Cole Pierce & Rustv Shackleford
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THE WO'RLD G·EOMETRIC?'" asked French painter and.

after Cubism's advent. Geometric abstraction pe.rsftsts as a method because if abstraction devolves into too much visual noise. one, can alw,ays trust g,eometry. T11,e ,gIid is often the reliable tallb ack, but one
should not forget the tnanole: a 11, important symbol in. the Ca tholtc tradltlon and the shape that best pictures the act of transformation,

cofounder of Purism Amedee Ozenfant in. a 19.28 "text decades

that uni versal human desire. A s a to 01 of secular 'geom,etrYr though ~
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the triangle need. not 'preclude the unseen and the unknown .. ]n this t"wo·-p-erson Bx"hlibition Cola Pierce Sind Rusty S lhacklieford investi.gate geOIll'etry as a. trans.fo,rmathre devic e. T'wo, se'liect1,oTI-S from Flerce~s jl'lTri.angle is. the Strongest Shape s.er.lies, from 2010 an.d 2.01.1,open the show" The square canvas,es each .about s.ix te,et tall~ present a fi.eld.oj[ optically vibratiug trja.ngle s. PJe-rce covers each plane with a subtle hazy gradjent of paint then peels away certain
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viewer~,s expertenc:e of constructed :space and. rhythm., Tnten bonell flaw's. lin Piere e s patterns function Uke wormh ole s.~al1o~7ing' 'th,e IE'N3u
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world. to en tel' the theoretical VaCUiLllTI of geometry. Shackleford's practice, meanwhile, Involves paintinq, drawinq, and placing sculptu res, atop found vin.t,age irnape s oJ modern pastoral lifa Moun tam s capes and 'water falls a coun tr y dn ve and
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bourgeois s.itti.ng room are layered behind big
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moody screens of paint or filtered through complicated hand-drawn patterns. Shackle·ford then photographs the us·w, .lia.yered image
flattenmq it. Hi s interventions either extend the found imaqerv or obliterate it, mtroducmq fractured mfrastructural elements aktn to the extra-perceptual techniques of Cubism. The passive tmeaes. plucked from maqazmes and stuck in time-artifacts ·lJf representatlon depictiu~r an invented natural ptcturescueness, promises of :rrd ddle- clas So trans cendence, and. ~<the good ]'1 fei';-are

rennbished by

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artist's frenetic addttions. as if 'to materialize

the popular pastime of ponnq over magazines, ].ooking for tokens of identification and desire. -J'as:on .Fownherg

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following the de ath of Lucian. Freud in J1Ll.ly~ the Telegra,ph _..1 h h er ' ponaeren _11 w~._e·t., Draviid H oc 1 ... cney is Britain's g-reatest Irving painter ..After lengthy cousidera tic n~ the ,8. rficle's \1\1r1er t concluded t.llS t Hockney does n't nee d ..] iueCBJIlS8- he i aireaoy ,..,11 suerh a. tl't e .~.. e is U Brit ai n' is b e st -known artis t" Pai ntings such as. A Bigger Splash, 19i67.~and Mr'
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sketchily I mpres siomstie; bright cclors, incl udi ng sunflower yeII0'\v8, p'e,ony' pints ~ and tulip purples; and com PIO si thODS remi ]"11· sc .n.~i'lI'''" '0- f Hen 111"1" M·- se Th ,....-. atis luminosity of these 'works is due par-tly; of eotrrse, to the g-low from the screens of the devices, 'which a:r'e affiJ.xecll to the museum ..ga]]e·ry walls ill row's, a nd grid B, some of them annoyingly rota tirig three or four drawings in ,8 slide -show format, (D uring the
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ch a. il1L~ smoking persona .. hatve become ~ embedded in the papular im.agi.n,artion. vVhe, her or not he's the gre ate st, Hockney 118. certa inly proven himself to s be one of the IUOS t open to experimen ting 'with new technolo ,r.:. eies. His exhi bition "Fresh Flowers'~ ,all' 'the RoyaJ 'On·tario Museum's Institute for Contemporary Culture marks the North Ameziean prem iere of dr SlW in gs crea e ell by the artist using the Brushes app for iPlror,tes a nd iPads. Hockney started using an ilj\]l.on,ein .2008 and then an 'i Pad :in 2010 a nd sen t the dra wings electrnnicalfy to friends for free .. (The New 'Yorker has also featured his drawings on its cover three , 1·m 8''''' ) ·S m 1"'1 ("i, in con t '!G,{1. , Hocki .ll.'~- ~ 1· '. 'r ....-.~,~ ""-'y'~ ',,' , iai.. '-"." earlier ink and colored-crayon 'works on paper-e-s UC]1 as Pineapp le, 1970, and Balcony, Man~·oltnia.Hotel, Ma:r"'f'.akesh.~ 119 71~the n.ew·clllr;awin,gs inc]u.d..e views f r,o'.m p,atios .8.D,d 'berr:aces (a vib.r.a l1t
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exhibition's run, the artist occasionally
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the In USeUlTI new drawings to'

add to the dieplays.) Equal pacts product demonstration d h .1'ewers " noes ",1 ,8 11l' art. ex t, ibi - ""F~e81 FI HI ' ut, illustrate 'how technology is changing 'i11),~lv nT~'y' arti sts 'mQI1.J~ work: hO'W'oPiVA[ ., ~~~ '[- t, A ~A .'._.... I , '", 1I(Y'U' v
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over terra -,~[D,t.ta iled roofs ,.a white 'wicker chair S8t against GIl bright bl ue fence); ta bletop ohj ee ts (a butt ~ filled. ashtray, a glowi ng' tea Iigh t); a ndl a fe\v portraits. Most, however, are sti.ll lifes of the bouquets of'fresh flowers 'that a friend pI aced in the- a r'tJis't's bed room every few d ays, The d rawings ~'untitled except for' the dates on w hieh they were cornpleted, COl1.tstin a}] of the el'elnell'ts o,ftel1. founcll in Ho~kneyj's, '\vork: a li.gh·t touch. t]1a.t fe e]s
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screen, ea n't avoid appear-ing fleetin g'~ And! at t.imes ~Hockney's lLU1.a bashed Apple boo steri sm verges on the embarrassing: O:ne of"the few comple tely s ta tic sere en s pict ures a flora] arrangement over which he has sera wle d ~Apple iPhone! 'f s awe some! DI.H.'~Like the art:isfs constantly refreshed vases of flowers, 'this t echno 11.'0 gy seem s de sti.ned for eve XIt ual replac ....-..""., wherea it!. 1· ,t'~ h' ~ ""-,,,11 lI'UI 1·",', d:' "JI...ll.'w . m ("i'g~ ..L·w I. ae w,.II;.ILJI.!Gi,lU.I[.o~ '., ,'. .u: '!G,a " ,~!ai, Ul. the, tradition al, reliable to ols us ed for d.rawin,g suffering the s.ame fat@ ..
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REVIEWS

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"Enera ges one is ooI1fr.on~edl wi th a. g]fUJlt black -and-whi te eye, a. photograph of which Alas b een emblazoned on the facade of this usually statelygallery, tucked away in a Marai s courtyard, This
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street a1:tiS't~ work ] l1S ide' 8 the gallery, :is str-iking but basically iL11 eaningless, a veneer of spectacle detached f]l'OID its

social context, The eye a ppears to he an extreme close- up froll1, the arsist's 2.011 series '~The Wrinkles of the 'City," for which he photogra phed the creaselined countena nees of senior eiti zens from Shanghai to LiJS Angeles. (Ah~, the b@i9,uty of' shared humanity] 'Think of the movie extra vaganza Babies wi th facial fea tures slightly Iess teeny-weeny.) These portraits do cu Inen ting the craggy-faced .eld.HI"]y were 'then splashed Up' on walls and billboards aero ss the globe, before they ended lLIp 011 sale for thousands of eu.M"OS in '~?'a.lI!.~is. For his other, more
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Jintrigu]ng, projects, the artist ma nages to swiftly and anenyrnou sly place ]1'18 photo ,. ased. p oetraits at sites b roiled with sociopclitical conflict-s-such as throng hout Israel and the West Ba nk and. in the violent crime- plagued Era zilian favela s+-tha t 11.ItV,e been neglected by the media and the 1aw, But here's the problem: At their least powerful J J R's creations become highbrow piece s of e st ablishmensapproved street art at which hip Los Angelenos and Pa risians can point nn pressing' their friends by
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persona. is barely ma ske d, Iike so many pseudo -secretrve 3(1:'[ sup ers ta rs before him '-by a fedora and sunglas ses. And then the,re :is the sale of 'the res ulta nt documentation of his renegade photographic mterventions, in 'tony commercial axt spaces such as Perrotin, JF'ew things make me feel ickier than antisepric g,al],eries pandering photog .... S oc,G!', isslu~,- 'WI" th aphs JL . JLms.-....L> I, one picture co s'i["jng move than the c umul ative contents of the shanties displayed-e-tc be hung over the sofas of the moneyed art-colle eting elite,
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CII?POSnE:

J' 2'8 MilUmetreS':
Wbmen,A;e Heroes, Action j'(J Jaipur; HOH Fe·st , no I·n,di ......-10· U71J .··,ru.. 2'

lONDON

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A LONG BRASS CYL[NDER,;, split open on
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prote ction from nothing in particular.
Closer inspection reveals text fragments, encraved in the golden hollow: "ot the weight of your words," "your ,gravj ty," 01f' your guttand sm .. anc spmt, yOU~Wlt h your 'I
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engaging be caus e of' the vibrant, colorful a rrangement of the people w]'iliin its. frame, ,8, milieu that evokes Mitch Epstein's ,glor.ious 19808 street photographs of India. In contrast, the JR ey,e plastered on the wall behind it seems almost irrelevant, It is only in the projection rOOlTI that JR)'s Slrt hegins to' come to Iife for the gallerygoer, 'who ea n there begin ,to imagine tbe experienoe o~f ncountering e the se works in their original environments: Stop-motion video of the applic ation of the rna. ssive photogra phs ]s accompanied by a sound track of commentary by Ioeala. Easily the best part of the shew, however, is the Photomaton a photo booth for tIle novice eguis tic 8tree! artist, Within minutes, one can get a big' black- and- w hit e portrait of onesel f printed. Partie} pa n ts are then encouraged to put them, up in the streets, and share photos of their outdnor Installa tion online, 'This la tes t p,rn:j,ec't"s, Web site, 8]80 al]owB people world .. ide to send ]n w ,th,f3it' photo s to 'be printed and mailed back to them. So Have yourself the trip: A s with JR"s other successful artistic' endeavors, this one doesn't req uire 8. visit ,to the g,aUeI''y
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doubt The show has been 'waiting 'to be activ ate'; . _ ,u~. bev hu m -::"ri, 8'U.o. -V,:, '1·iv\!-~ v~a;.Ji here'ih,y": O;r;~l' ~ ~_- d;'~ __ l-Y-~, -",,~,~ ~.Jv~. are not only enacting Maresh Duchamp's famous assertion that art is in the eye of the beholder, they themselves als 0 become materials, indisp snsable to the completion of Argian&s"s ernstic propositions. 'S" ne luu.'tlion T1,. ex h·h~"· So centerpiece. . long' M'ar::hJne 21 (thJiCie ,two~,once .one)" .201'1 furthers this 10Qiic.. A long brass ribbon hangs loosely from dark support structures" Suspended at various ,heigh.ts, it appears as supple as satin, and on 'its shiny surface the disjointed monolo gue contin ues: 'the 'lieugith of yOiIJI index of the width of your C LJ:Har bC}119 The piece enumerates viewers body parts-indeed ltsts of idi()\Sync;rati.c measurements based on them are 'woven into its, very fabric. 1:8 there a. way aut of generic quantification?';' Song lviachine see-ms. to. ask After aU the, body has always been the- starting pomt, distance is snll measured in foot and the height of a horse in handsBut there's mors to Arqianas's 'work than an attempt to undermine standardization. With'Her Hands ItVhe1~e ,Feet 'We1~eI (Dark) and its counterpart, '~'th Her Hands W1JeI;e MY.Feet WerB' ,11 My (Blight)" botll.201t are two caste-s-one black, one 'whjte~of a male ll,sQi, both contemmu the negative imprint of an arm, and G, hand" Part; classical sculptures part abandoned prostheses, these uncanny ob ' IJ..Q. ~*~'c""'5 ently caoture the10 G ..,'.a.''t''II,"C'"'!U u·· 1" J.Lrl.I1JJ.· " . ..... U1.JL . JL!J.... ii''lfllvi, a ble m CI;'t',m'l"'lI'g' of t, W' ' ,A, b od . a.a T'hev als A, ~a y and H'S u·· 'J" ec fi',e;, oJULl .·JLO'.! l,I1. . 'L--u!-' .... J JJ, )G ot n nma u ..... u " 1~ V J' . JJt..J highlight the inherent Haws of sublecnve calculanorr O'ne' person's leg ts someone else's arm"
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REVIEWS
,LON DO'N

Marlene Dumas
Fr ith Street.
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October 14.-~,Noember 2'6 u
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THE SO'U'T',H AFRICAN PAINT'ER

Marlene

Dumas has set 'LIP an intrieate network ofresonances between Je sus, Amy

WilleboUlse, Phil Spec:t~)r"8no Osama hi n Laden fO'l "Forsaken," her first solo show ]11 London since ,20.04. The connecting th@111(3: among 'this surpriaing cast of characters is the idea of the father, or rather, the paternal relationship. The artist tackles it again a nd agai n in. a. aerie s fea'tlllJ.:Jil1Lg J esus ,ou the Cl'10;s,s-tbe moment when, according to the New Testa ment even he doubted, shouting tJQ the heavens: ~~ God, why My hast thou forsaken me?" In this Iigh t~the exhihit]on~s five Iarge paintings. of the Crucifixion are not just exam ple s of ,the uni versal sign o,j" hum an sacrifice ehat this canonical image occupies in art history and, religious scholarship, 'Dina more basic human level, they picture a tlh"":ic.ked. dyi ng son, harrnwed and by physical pain and rejection. J esus felt a bandoned by God,~his spirjtual father, and
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his eyes sunken in pools of liquid, purple, A faint tune is audible in 'the gallery: "To Know Him Is bJ L-OV13 Him," Spector's first po-p' rnusic hit and his ticket to stardom, said to have be en inspired, 'by his father" Ben, t A- the lffi 090:""' k" ofI h·er glory the '11 ate A·'" 'mly' . ,.n.~~Q .~ ~~- '",=u " Win,ehouse recorded, a coyer of the song" And there she is, unmistakable with her Cleopatra-esq]ue eyeliner, ill. two little paintings, ,A,ny-B'lue and ,AmY'-P;ink~ both 2.0II. Their size, lite Spector 8 'Pic• ~l~

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the millennia of"famili al erise S eomi ng in hi s 'WfJI. -Of so the exhibi tion seem S ke to ar gue ~splicing together as it does, the Cruciflxion and contempor ary pOI'tIraits~
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small portrait of' the pioneering American music P'i'"O rb.. icer, faces, the ~ hu . ~ p' th ~ InIW'_:1' 's fi .w.;.:, tJ e~'ul . .. ;.::I,"". 8' : "ee' t O,'lIi" looks shifty under one of the blond WLgLS he famously wore during his, trial for the murder ofthe American actress Lana Clarkson,
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swimmers clinqinq to a ledge in the de 811 end of a pool Yet the

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scenes evince an emotional depth despite the droll appearance of the artist's characters. The arttst manaqes to Infuse humor into the inttmacy of a ba thinq couple OJ the is olttary ntu als ot an early morning, Elsewhere, Macarron's llarg{~Jmixed-media works are nxated on ,growth and creation. G,Mdenftng partlcu La rly the careful maintenance .of a s]ug]e plant, enthralls several of these figures" seao ,Me£:
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.2 0'1~, depicts an eccen tric tndividual cloaked in p olka dots and stri pes dousing a minia ture yellow' flower with a steady stream of water from, a hOBEt The towerinq, flustered nurturer wears a single boo t and smokes; the overall effect is, a mix of enj cymen tt and agitation. Most ,ofthe offerings here fluctuate bet ween the comical and the anxious, Macarron welcomes the v,iewe.r into a parallel domestic reality! aummoninn the voveunstic sptrit of htstorical genre

scenes that are simnltaneouslv accessible and completely fantastical. His characters, are aloof .rarely brandlshtna a smile in the slew ot work exhlbtted. The annuals in Macerron's pieces. however. are exuberant and engaged in contrast to their jaded handlers_ JgOJ~201.1, a hybrnd of.at hippo and a
grin. Ignorance IS bUs'sfor Mac.an'on's, menagerlie: if's .only the l1umans who, face the monotony nf da:iily lUa with ,Ell , til'II' 11'" ., gIliIDaCe an-ell'a Gliga.re.I,~e.-lLuJ,llD "'LtI" I~ ,.LIVI,a Is:ze'W~S:ftJ

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singlie fr,e'sstanding .sculpture, ill th,e show'.........:wears. unvarnished .an

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colored Ple-:dgllas gr.aftedl onto them, oUerfing vi €:,w s of an o't he rwi se pr iv ate s pace th at at once conjure up and! d esta b ~ize asso ciI

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M usee d II Lou v re" T h,en~!s IlilO de nyli' ng 'c:erta, Ii n 'formall silmilarHie's: Her nudes at 'timles take the po 5.8' of ell a S.5~ca IIoda! ~'$que:s~0 r iIn stance. 'f Yet G,()llcfin':s ba.thlers~, her women d~s;pllaying theii'r ,t re.sse.s, he IF angle~ s, ,a nd her P~eta co m e oft in s th~:scon te~t ,asmere, copi e's. Her port r.a its,; ~ow'e rfu ~a,s th ey ,ar'e" 'g e.'~'tlh elir j u i.e e' fro m utterl y d ifferelri t rese rves than v,a'g lie Iy :si m i I,ar OI1l,e S by Rembra ndt Ed ou ard M,anet, ,or ,A:gna,11 B ronzi nCL 0 And her s.'ellf=comi[par~'sons witn Eug,sne Delacroiix ,a rid Gu stave Co UI rbet an:' s i' m pIy 9 ra ndi,~'~e . Shel's, b tied the 5 how i~SeQ po ph iI~a/t whi,c h m 8'CI n 5 ~llove' of loolk~nglJ i nl Greek, It o UIQIhtto be c,a~18d ~IAmour Propren'=love, of selt

diior,am,a,~ man'ie

G e,r ma no Cell,a nt is to Ar te IPover;a 'W ha t And re IBre'Ion was toO Surrealism: a sta.unc:hchamplion a nd a fi e rce 9 ua.rdilian of th e' m OV'8 m e 11ft. His latest projject IIArte P,overa 2011 Is-a cOlUntrywiide ana~/1

\dg nettes i'n wh~ch
piink~n ~ piled p
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con$tr1Uction~p,aper wom'en cavort in d~mes.I~c ii'nte ri o,r:s~,a ~n v'e rs ~orlS ~)f r t work~ by t he I~ s nd a ~e of F'ellix G'onzall e',z=o rre's 0 r' G'er he,rdi Rj c hte r T Theyt're, :shor: k.i n g Iy b rig ht ,8 nd all jcve wi til m o;v,e~ Iment. both forceful and die,li,cate. Strathel~'S ll,ar'ger work s a.re m a.ster p lieces, of ti ny detai I; a. wall I gI ri d of ,fi$hot P,a~ntings:ri spilits. hii's. ni~lH~~ u vi:sioln into

ysis with e,ight simulltan-ec!us ,exh~b~tions" Here·, the show ,examl ~ nes. the re Iati 0 ns h r p be't w,ee n A rte P'overa .arti's.ts and theii'r iint~Fnat~onal (ounter"' pa rts" Ce~a nt dJoe'Sl1 t lbu dig ,e from the, 'can 0 n" lblut st~ 11:, In 9 th e' wo rks seeli of Jannlis lKounelliisIR'~c .arei Lo ng~ an d Ma r'kl' h IMer2. In the Cas.t,elk~~'s.
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unique ~ettin'g teases. out A rte Povera:l:s roots. qUlietlly asserting ~ts
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.rt C ime nd Cu t- - 01 H . Fi ge Protection
The As-sedation for Research ihto €r·mes ~a.ktst Art {;ARCA)warm Iy 'invites applicetlons to its Masters Cert~flGlte p~'()gram in the Study of Aft Crime and 'Cultural Heritage Protet:tfOM. Featured In The Nevv York Tii~rH~$Jtf1is is me first and only program of its kind in the WfJrl€l. The program provid~S' in-dt!pth instruction in 'a variety 0 theorettcal and pra(f.k;~1 e~ements of art and heritage c~'ime~taught by woda-renown d experts and profosslenals In th·\ be~utrful scttrng of Amelia, in UmlJria, Italy,
Topics include:
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Masters Ce ti'fic:at'e Progra m

the history of art en me art, antiquities and culturel heritage
ainltnQjtogYI

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p.o~k~y

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art, .and organized crlme

art In war forgery, fralf~, and rhe art trade Dart po IiCl ng and inVE;stigatio n o art secu I'Tty and po lidng
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illicit trade in antiqultles

The equivalent of a. year-long MA prqgranl concentrated tnt0 the SUIT\me·r on hs, this interd'!scipUtl~ry' program has much m to offer a n umber of releva nt fl:eld~1 including art Pf}lie fC, secu i Ly professleoals, lawyers, insurers, CUFators, conSefMJ to r:S members of the art tratiel a d post.. ra~uate·$tlfdent~ eager fer a grounding in g field before they p>urSLI€ aDvanced degrees in rri m; 110 logy} Iaw~ 'soei of 0gy~art h ~ sto~ archaeo Iogyr ern isto ry.

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'2011 PrngrJn1 Dates: June l-1\ug 13, final diss€tta6oM due Novemb r 1 S
Location: Amelia, Italy

La~lguage: EngUsh
For More JI'r1forma,tian ond ·to apply please conl'act ~ynda Afl·betlso·n: alberlson@mrfc·rilme.info

1=-1. THE ART I Ii.'5iT'S-'. ISTUDIO
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To be ~nchJd(3d ii n M odem Painters. pald listi rags! contact Connrrs Goon.at: +11646 753 9090

NORTH AMERICA

northeast
,AC,A G a'llerie s 52 9 'We,st 20th St reet 5th Floor New Yo~k:jNe'w York +1 212' 206 ,B080 iofo'@.acagallerie'S.com www"acagalleries,.coim Pleass contact gaJlery for current ~xh[bi'tion information, Hours: lues day th rOLJg h Saturday" 1a:30~ rn. 6pAmsterdam 'Whit,ney Ga'llery 5'11 West 25th S:tree~ New York, New' 'York +1 212' 255 9050 amsterda_mwhitney@'aol.com 'www',am.sterdamwhitney'galle·ry.com .Ian uary 27 th rOlJg h February 28. Opening Thursday, february 21 s-sp.m Rhapsody O'f The Abstract Dona Id B rown Lara Cam pi glial Erica From me. Coeur A Couer: Takane Ezoe, Paivyt Nlemsla[netl, D~ego Salado. Heart & Sou I; lEIm ar C- Fuchs, Su san Marx', and ,J acq lJie Vaux- OJ ,Iectors ' Choice: Go ra l Cronerreve F r J. Du le, Rob erto Fe mandez, Ann Gores! Andrea, Harris, Diane Holland, Ad rlen ne Kyros~ Jane Em e n M.urray and Ann ler-Pogosslan, Hours: Tuesday through Sarurday, 11-5:30p.m.
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Kathari na Ric,h Perlow Fine Arts a rt net co mi kath ariln a rich per Iow. hun I ~erl o'w'gallery@aol.com +1 212 644 7171 +1 212' 644 2519 fax By Appol rum ent 0 nl.y INorman [LJhm~J ames Brooks, Do na~d Baec h~er Byron Browos Friedel Dzubas, Joh n Ferren Tom Ferrara Helen fran~mhaler~ Robert Goodnough,! ,I ving Kdesberg! J acob Kainen~ Salily r Mi'che'l Avery, Fred Machall! Stephen Pace" Jean Helion Donal d Su It.an, Yvonne Thomas
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Knoedller & Company 19 East 70~h sr reet N'ew York, New' York +1 212' 79410550 inf,o'@'knoedlergallery.oom www.:klnoadl.erga.llery- ... com Pleass contact galle ry for turther ~nform enon Hours: Tuesdav 1M roug h friday., 9:30-5:3Dp-m'. and Saturday
10-5 :30p.m"

L.&'MArts 45 Ea.s t, 7St h St reet New York, New York +1 212' 861 0020 Post-War an di Conte mpa rary PaJnt-, r.ng an d Scul ptu reo For fu rther detaills! please inquire with gall,ery, Hours: Tuesday thro ugh Satu rd ay~1O-S:'30p. m. or by ap pointrn ent Marian Goodman Gallery 24 West .57th Sf reet New York! New York +1 212 9777160 'goodman@'mariangoodman .. om c www,'mari,angoodm,an"com Tony Cragg" February 1 through March ~O. Hours: Man day throuqh Saturday~
~O-6p.m,

535 W'est 24t h St reet 6~h Floor New York, New York -+ 1 2'12: 223 ,2,227' contac1@da,ne,se.co!m www'"danese.com Anne App Ie by: New Work! February 10 through March '10 Opening Reception" Feb rua ry s. 6- 8 p, m. Hours: Tuesday th roug h Saturday! 10 -Bp"m,
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Danese

MlarlborollJgh G'allery 40 West 57th Street 2nd Floor +1 212' 541 4900 rnny@rnarlboroughgallery.com ww·w'" m arl bo ro ugh galle ry'. co m Juan Genoves, Reoent Paintings; Doug Wad a, Am B rlcana. th rough February 11. Bi I~J ack Iin, New York Ilmag's s. February 14 UI rough M.a rch 17. Hou rs Monday through Saturda.y~ 10~5:30p,m. Mlarlbor,ou gh Chelsea .5 45 West 25t'h Str'e et +1 212 4638'634 chelsea@'marlboroughgallery',cO!m ww'w" marlboro ug hg allery.eo m 81lnd Cut! exhibiltton curated by Jonah Freeman and Vera N eykov t:h r-ou,gh " February 18, David Rodrlgusz-Cabal,lero, [february 23 through M'arch 24, Hours: Tue sday 'th rolJg h Saturdayl
10-5 :30p"m"

Dav-id Zwi rner 519 West 19th St re et ,+1 212' 517 8677 iofo@ davidzwil rn er .eom www,davi'dzwirner"com, Doug Wh~ele. , th roug h Feb ru ary 25, r Doug Whsele r's ex h~bitionat Dav1id Z1Mi ner presents a oonti IlU anon of the r artist's body of innovative fight paintings knffiJVr1 as his li,gnt Encasement series (begun in 1965). Genera'lly hung on a wall ina pristine wh'ite roo m of precise propel rti ons these works create an immer.sive ·~nvironment~ abso~bi'ng the viewer in the' subtle construction of pu re space, Hou rs : Tuesday tbro ugh SBturd~{y\ 10- 6 p.rn, and Monday by appointment
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Edwaird Tylelr Naihem Fine Art,

l.L..C
,37 We st 57th S~:reet 2nd Floor New York, New York ,+1 212' 517 ,2453 info'@ etnahem .corn www,etnahem.,oom M'ode m, Post War and Contemporary M as1errs. Hou rs: M'onday 1hroug h FridaYi' 1O~5:'30 p. m. and Saturd 8y by appoi ntme n~
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Pennsylva nia Academy' the Fi ne Arts 1~8-~28 North Broad Street Ph i'I ad 8·1ph la Pen n syl van ia +1 2'15 972 7600 WW'1I1t, para: org Bi II Via la: Ocean WitthoLJt a Share! 0 ngo-, i ng. George 'Iooker's H~ghway,On goin g. American Art Starts Here: PA FA Re·fresheo and R,sloaded IOn g oi ng, He nry Ossawa Tanner: Modern Spi ri( through April 15. African American Art~ i sts Si nce 1'940 th rougn April 16. Hours: Tuesday through Saturday 1 -Sp.m , and Sunday 1'1-5p.m.

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Ronald Feldman F,ine Arts 31 Meroer Street New York, New' York +1 212: 226 323,2: info @'~eId m an glalle ry. co m www.feldmangallery.com Edwin Sch;lossbe~gl Beneath Suddenly, through February 11. Have We Met Be1ors? (Group Exh'i'bition); February 18 ttl rou gin March 24, Hou rs: Tuesc ay through Saturday, 10- Bp .m. and M onday by appoi ntment .

southwest
,Zane Benlnett 'Contem po'rary Art

united kingdom
ART a'nd SPA'CE Gallery 0·-80539 Herrn strasse '13

SC',A,D:' The Uni'versUy fo,t" Careers, PO'8ax 316, Savann ah Geor@j,B, 314002 +1 912 5;25 SOOO
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Career

+1-800 8·69 7~'23 ':.:..~". ~'. ="
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435 South Guadalupe, Str'B,et Santa. Fe~NM -+1 505 .982 81'11 zan eben neH@aol "com 'ww'w.:zanebenneUgaHery.com Through Februery 17:, WEST CQ,AST ,A'RTlST8., Jah n Bal de ssa ri J udy C~1i ~ caq 0 R~chardD~e korn Sam Franben cis, Ed Ruscha. February 24 through March 23: UNDER THI RTY-IFIVE, Du nham Au re Iius, George O. ,J ackson Holly 'Roberts, M Elittthew Szosz. Hou rs Tuesday through Saturday, 10~5p-m,On' by appointcnent
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Munich +49 176 85089290 artandspacessqallervmunlch.com www.artandspacegal·lery.com Contem para ry Art gBli'lery situ ated in the very center of Munich. It presents estab Iished artists as weill as, e merQling on es from all ove r 'the wor,1 d. PIease contact the gallery for current sX~lib1tion i ntonnanon. Irl ours: Tuesday th roug h
SatLJrdi~ 11-7'~.rn,

iin ~o,@scadl,,,edu www.sc.ad. ad u Ths Savannah Colleg [3 offArt and Des! gn is a IPrlvate, nonprofiit ace re d i~'8d " i nsttitlJulon GO nfJerr~nQbac he lor's and master's deglfee's iln d i8'tiinc~ive I~ocations and onl ime to prepare t.allente d stu dents for professional careers: s,.CAD oners deg ~ees in more than 40 rnalors, V~sit

scadedu

660 Ve n ie e 80 U levard Ven ice ~Cal ltorn is. +1 310821 6400 info@lm'gallery"com www',lmgallery.com Ahmsd Alsoudan,i'~ January 21 through Marc h 3. Hall rs: Tuesday throu gh S atu rday:, 1D-5:,30p. m,

L&M Arts

AVAILAB
EUROPE united kingdom
Goethe &' Li na Lid London
+44 2.0 7419 5038

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Ti molhy Yarger Fine Art
354 North Bedford Drive Beverly HilIs California +1 3102784400 thm@yarg,etf,ineartcom www',yargerfineart,com The ga Ilery rs presents establ [Sf! ed contern porary painters, p rintmakers, photograph errs, an d sculptu res as a camp l'iment ito its schota rshi pin h isto r ic material of 19th Century artists~ the Modern Masters: and :POP :iGOnsof the 20th Centu ry. Please contact. gallery fa r current exhibition lntorrraton, Hours,: Monday through SaturdaYl 10-6p,m,
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AR'TSIPAN.C,OMI ,,~ in Alrtiisl W,ebsi'lss low Cost - H'ig h liraffilc Easy to Manage Si~es; Fu ll-teatured 'ttempllate'websites or keep yclLJf current site. Either way v~sijtors. fiirld ~ur sit~ with our search funetlons, diredcH'iles and portals. Artspan is top- ranked by search etlg i nes, 00 you'llll share' ~ our traffic! Jo~n us; W'W'il1ln artrsparl.Goml 1608,,397.0888,1 loll Free ,s66"ARTSPANI

Beautiful ,and spaci'D'uS gall e,ry space an 57th Stjn~et rn NevvYCH'k 'CWJ:y avai I,ab~efor dal IJy n~nta~sor specal f events an dl corporate meen ngs. P~saLSe email cunuralspac-es@grnail.comiif

i nterested

southeast

'SCAD Museum of: Art' 601 Tu rn Sf 130 Ulevard Savannah, G,eorgli'a +1 912: 525 5220 W'WW', scadmoa. org The SCAD 'Museu m ,of Art is a con tern porary art an d design m US8U m conceived an d desi gned exp ressly to e nri1ch the education~1 mllreu of S.CAD students an d professors, and to attract and del ight visitors from aro und ttl'S world. In keep ing with the ur;~versity's m lsslon a y,ear -round prog ram of sxhib itio ns in sta] atlons, pe rtormances and muse urn programs and events will 'engag e with SCAD's 41 majors and m.ore than 50 minora - from fashion and 'fibers to painti ng and SDund desi.gn. For inform ation abou t cu rrent exhibition s. and admissron please! visit scad moa. o rg, HOLJ rs: luesd ay, W'sd nesday and F riday, 10-5 p;m, ~Thursday~ 10-8 p, m,,; Saturday' and Sunday, 12-5p, m,
A

info@ go ethe -Iina, co ml www.goethe-lina.com A lexla Goethe and Laetna Li na are pleased to an nounce th ei r partner ~ ship-GOETHE &, LI NA~on irnrninent relocation in Mayfair. The program me wi II conn nue to p rovi de artists a toru m to investi gate til e con ceptuel and aesm ettc relationsh ips between the ir works irl conte m porary and hi stori cal cornexts, and concu rre ntly €'xp,lore the arb stic correspondences between Europe, China; India and latin America. As the gatlery~s focus expand s: GOETHE &: L,[NA also reveals a strong profi 119 in post-war with an emphasis on Pop Art and Nouveaux ReaUstes. Hou rs: By Appointment Louise Blouin Foundation 3 0 laf Street London
+44,

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FASHION
lAINFIRAN'C,~ IKnowilrt1g how Ito cress is an an fcrrn, F~irJJdingl ~'gihltbelance the an d usi t1g key pieces ls a ski II that dleflines our i dlentitiloo" Put j ust the 'riig ht amount of color in your tflit 'iMith,A~chiduchesse socks. Mads' in Fr.ance of o keo-Tex hYpDeJh~rgerliic IInd~aJl colten Arch i cucbesse socks are the perfect acoeseory to d~sc rete'ly spruce up your look. Arch id uchesse socks are .avaiil able i n 4 8 colors, exckJs~vely ,at www.

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Pennsylvania Aca!demy 0,1 'the Fine Arts '11 28 North 8 road Street Ph ilade Ip h la, IP,! n I1s,ylv,aml la 191002, -IF1 215 9·72··'1'600· _ ~,.",: ~

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info@'ltbwoundation .0 rg www. ,I~bfo lIndati on. org
The philosophy of the Fou ndaton is
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PAIFA is thle' nettian's f~rst school ,of fii ne arts and museurn. With a uniq ue p rogram Ulat ern phasilzes skjlliis iim d rawi nQ artrneJl(iing tsch niJqUl8S, and a thoro ugh tn-ailnng in the' fij ne art discipli nes of i p§li nt~ng~scullptlJ re, and works on paper! Irts graduates -go on to. es~abllis.h suecesstcl careers. as fine arti sts, Fecmuning a large an d diverse tac ul~y o,fwork:Ji g n '" 'd' ld LJaJ artlsts, ~'rst c ass f ac 'I" ~ 'I I I ItH~S~In 1\111 II studios tor advanced students and a location i mUie thlrhlilng art scene of' !Phi lade,llphlia" PAFA is devoted entire Iy to' the tra~n~ng f fine arti'sts o
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experimentation ~q uestioni ng debate and learning" and there are two focuses of activity, The first is to present the work of' indivi,dual ,artists through temporary exhib itions insltallations pe;rforman cas and ocres ni ng $, We also promote a live~yprogram me Of events such as leeru res, debates, \NO~kshops ttl ink tan ks and 8ummi1s related to the' Foundation's
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10 Ib~ inclluded ~nModern Painters pajd IisUngs, contact Connie Goon . ··t- .. ... ~ a +1 64.6, r5'·3:,· '9· 0···· f1
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Modern Pa in ters, in New York, Ta kashi Mura kami spoke with Andrew Goldstein about his. pta n s for the

arises from a disaster, albeit ,Si natural one: the March ,20Ii earthquake and tsunami

that rent his country a sunder, killing
thnusands and, displacing eountles So more, The movie, Jelly{iS'h ,Eyes,~was filmed with ,8 wan palet te in hypersha rp :fOCUlS,. It tells the story '~f a, young boy who, after an. earthquake, moves 'with his family to an exp erimenta 1 city where each child is paired with. a. small monster. 'The a llgSi:' o,f the children gives these creatures great
'power" enahli n,g them to g,row
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future and revealed that he's venturing into new tell!.~rito:ry; e's bringing his H pai nterly creal!ions to life' through the magic of 'C,G I-in a IiVH~ac tion "monster movie," he says, "like Godzilla"

Modern Painters is proud to an nounce that a vide 0' of the complete interview
wit}), l\~ura

k ami wi~l he ava'ila hle online

at Artlnfo~colD this month. Mean,,:rhile~ fO]r'

cuddly

our readers, here's a sneak preview of what the prolific -Iapanese artist 'has pla 11.l'1 @dlor his scr een dehut" f Li ke the eponymous creat ure in,the 19~4 black-and-white Godzilla, born from the nuclear terror of Hiroshima's and Nagasaki's aftermath, Murakami's tHIn
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companions to omnivorous behemoths that tower over buildings and, in one memorable scene, tromp majestically through ,(1 misty forest, Havoc ensues .. "I'his is for the kids," says Murakami, "so it looks really childish. But the mes sa ge,is for the, ehi ldren." The artist

has his sights set 0'11. a loftier. goa I tha n 'your average kids'; entertainment, however, Looking back at the earJly sharkand-alien films of Steven 8pte]berg and 'Gear ge Lucas, Mura ka mi notes tha t at first, "movie ~ ndus.try people 18ughed i at the effect, but now this is ,a m,ajor thing these sci- fi computer gra phies. And I thi n k in the a rt 'world ~the same thing will happen soon," U'sin.g a cast 01 tm knnwn actors, and putting the film's budget aI1TIOst enti rely into special eifeets, the .artist has m anaged to create big ~ screen version s of his ravenous curious creatures that maintain astonishing fidelity to their canvas counterpar-ts. He hop e B to release the film la ter this year. M P
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rOR ItIE: INITIRVIIIW ~:.. .AlIINlfO,,,COM

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Brief Encounters
January 20 - March 3~,20'12

Class of 1947, 20,[ ] , Oi:1 on linen, ,]2 pain ling'S, Each 35 x 30. C~11

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