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An Artist Used Screenshots From a Video Feed to

Document Italy’s Deserted Streets. Now the
Webcam Company Responsible Is Demanding
Payment
The company is seeking €2,100 after Radisic used 40 of its images.
Sarah Cascone (https://news.artnet.com/about/sarah-cascone-25), May 8, 2020

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Rome on March 25, 2020. Photo by Milan Radisic via SkylineWebcams.
 Art World (https://news.artnet.com/art-world)

An Artist Used Screenshots From a Video Feed to

Document Italy’s Deserted Streets. Now the
Webcam Company Responsible Is Demanding
Payment
The company is seeking €2,100 after Radisic used 40 of its images.
Sarah Cascone (https://news.artnet.com/about/sarah-cascone-25), May 8, 2020

Rome on March 25, 2020. Photo by Milan Radisic via SkylineWebcams.

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 When the world went on lockdown, Milan Radisic, an aerial photographer who has shot in 250
locations across Europe, found himself at home in Hungary, trapped indoors like many other people
around the world.

To keep himself occupied, he undertook a project publishing images of once-bustling Italian tourist
destinations such as St. Mark’s Square in Venice, now eerily devoid of people.

Because he could not travel, he took his pictures from publicly accessible webcam feeds maintained
by SkylineWebcams. After converting them to grayscale, he posted the pictures on his Behance
(https://www.behance.net/gallery/94569533/Italy-Paused) profile and on Bored Panda
(https://www.boredpanda.com/empty-streets-quarantine-italy-webcam-photography-milan-radisics/).

That’s when SkylineWebcams came knocking, accusing Radisic of using their pictures without
authorization.

“Please proceed in removing the content as soon as possible,” a company representative wrote to
Radisic in an email obtained by Artnet News. The other option was to license the images for €2,100.

“I was shocked,” Radisic recalled. He says he already paid to access the images by signing up for
the company’s premium service for €2.95 ($3.20) a month.

Venice – St Mark’s Square. Photo by Milan Radisic via SkylineWebcams.

“At that moment, it was so important to share with the world what happened in Italy,” he added.
Stressing that he wasn’t making any money from the project, he asked the representative to approve
his use of the images for free.

But the representative denied the request, and warned Radisic that unless the photos were
removed, “you will most likely be contacted by our legal department.” When Radisic subsequently
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offered €200 ($215), he was again rebuffed. “I am sympathetic, unfortunately there isn’t much that I
 can do,”
Enter theaddress
email company representative wrote. “I’m tied by company policy.”
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Representatives from SkylineWebcams did not respond to Artnet News’s request for comment.
 Radisic took the photos down at first, but he has since made them available again. Now he’s
planning on turning all 40 into a giant collage to be auctioned off to benefit a hospital in Bergamo,
the city at the center of Italy’s outbreak

“To be honest, from the business side, this series was a huge promotion for the webcam provider,”
he told Artnet News, joking that “they might even have to pay for the collaboration.”

See more images from Radisic’s series below.

Padua – Sant’Antonio Basilica.Photo by Milan Radisic via SkylineWebcams.

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 Rome – Navona Square. Photo by Milan Radisic via SkylineWebcams.

Rome – Trevi Fountain. Photo by Milan Radisic via SkylineWebcams.

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 Like 371K

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Wet Paint: Jordan Wolfson Really Hates the New

Jordan Wolfson Documentary, a New York Gallery
Defies Quarantine, & More Juicy Art-World Gossip
What artwork is getting flipped shamelessly at Sotheby's? Which conceptual artist
built a savvy online sales platform? Read on for answers.
Nate Freeman (https://news.artnet.com/about/nate-freeman-1201), May 7, 2020

Jordan Wolfson, Colored sculpture(2016) Courtesy Sadie Coles HQ and David Zwirner

Every Thursday afternoon, Artnet News brings you Wet Paint, a gossip column of original scoops
reported and written by Nate Freeman. If you have a tip, email Nate at nfreeman@artnet.com.

WOLFSON AT THE DOOR

The art world’s first communal must-see stream of global quarantine is “Spit Earth: Who is Jordan
Wolfson?” The documentary is a dishy take on an artist (https://news.artnet.com/art-world/jordan-
wolfson-documentary-spit-earth-1846551) who, for a variety of reasons, is hard to look away from.
In addition to the talking heads that pop up to call Wolfson a “genius” and a “monster” and an
“asshole” in the film, its director James Crump devotes a sizable chunk of the sub-one-hour run
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time simply to showing the artist’s manic, pop-tracked videos and ominous monster machines.
 Unlike largeaddress
Enter email swaths of the indistinguishable stuff at virtual fairs and online
S I G Nviewing
UP rooms, Wolfson’s
best-known works—Female Figure, Raspberry Poser, Riverboat Song—have the power to titillate
 Title card for the new Jordan Wolfson documentary. Photo courtesy James Crump.

And yet, sources say the subject is not pleased with the final product—nor are some of the other
interviewees. Earlier this year, Artnet columnist Kenny Schachter reported that Wolfson
(https://news.artnet.com/opinion/kenny-schachter-on-frieze-los-angeles-2020-1784211), who sat for
hours of interviews with Crump, disavowed his participation before the film’s release last week.
Then, word got out that the artist had gone a step further. According to the film’s producer, Ronnie
Sassoon, he had begun reaching out to other participants in the shock doc and asking them to
withdraw statements they had made about him.

When pressed for details, Sassoon told me that, in late April, she and Crump received an email from
curator Andrianna Campbell-LaFleur saying she was uncomfortable with commentary that she had
provided in the film. (Five days later, Campbell-LaFleur once again emailed the filmmakers, this
time cc’ing Wolfson himself.) The curator had wanted Crump to remove several lines in the film in
which she recounts becoming so aggravated with Wolfson when they were students at the Rhode
Island School of Design (“he seems to say he made a pass at me,” she said in the documentary)
that she punched him in the face.

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Get hand-picked stories from our editors delivered straight to your inbox every day.
NEW YORK, NY – MARCH 15: Alice Pratt Brown Director Adam D. Weinberg and Jordan Wolfson at the
 Enter emailBiennial
Whitney addressVIP SIGN UP
Opening on March 15, 2017 in New York City. (Photo by Jamie McCarthy/Getty Images
for Tiffany & Co)
 When reached by Wet Paint, Campbell-LaFleur said her relationship with the artist has been “limited
to professional and respectful interactions” since their school days and she was surprised to see the
clip included since Crump had agreed to remove it after she feared it could be taken out of context.
“There are several people involved who believe that he has distorted their words with the intention
of promoting and funding this project,” she said.

For her part, Sassoon resolved that she and Crump would not bend to pressure to edit out any
commentary from the film. “We stand by everything in it,” she said. “The fact that Jordan doesn’t like
it tells us that we did a good job portraying him.”

Wolfson did not respond to a request for comment through his gallery, David Zwirner.

COME ON IN, WE’RE DANGEROUSLY OPEN!

Shin Gallery during a pandemic. Photo courtesy a tipster.

New York City is the center of the coronavirus crisis, and since mid-March, it’s been effectively shut
down. Only essential businesses are operational, and Mayor Bill de Blasio has said
(https://www.nydailynews.com/coronavirus/ny-coronavirus-nyc-reopening-months-away-pandemic-
de-blasio-20200501-fihb7rfimbgpffomvq2hjwyzhu-story.html) that we’re “obviously a few months
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away at minimum” from reopening the city. That means that galleries are, for the most part,
 completely shut down. Apart from one, that is. A tipster sent Wet PaintSaI Gphoto
Enter email address N U P of Shin Gallery on
the Lower East Side that shows a woman clearly working the front desk. “This gallery has had this
 sitting there when I walk by.” Gallery founder Hong Gyu Shin—the mysterious Korean dealer
perhaps best known for bidding up to $124 million on a Francis Bacon triptych at Christie’s before
losing out to Elaine Wynn—did not respond to an email. But according to the website, there is a
show of work by Wayne Nowack up until Saturday. Yikes!

NO-FEELINGS FLIPPER

Matthew Wong, Untitled (2018). Photo courtesy Sotheby’s.

When the artist Matthew Wong (https://news.artnet.com/art-world/art-world-remembers-matthew-

wong-self-taught-painter-vibrant-landscapes-died-35-1671937) died by suicide in October at the age
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of 35, it was a tragedy made even more heartbreaking by the fact that he left behind a suite of
 gorgeously
Enter email address S I G Nthat
melancholy paintings in his studio—a complete group of works U P would be his last

show. Wong had put the final touches on the paintings, worked out the details for the catalogue, and
 Karma, his New York gallery, last fall, putting on full display the massive talent that the art world
had lost. As Roberta Smith said in her New York Times review
(https://www.nytimes.com/2019/12/24/arts/design/matthew-wong-karma-gallery.html) of the Karma
show, Wong was “one of the most talented painters of his generation.”

Smith also noted that none of the works were for sale. There was no talk of the artist’s market. But
collectors with an eye toward speculation can only be held back on moral grounds for so long. By
February, I got a text from an advisor asking where one could get a Matthew Wong, saying, “I have
a client who’s going to have a heart attack if he doesn’t get one—he will pay, like, any price.” Now,
that collector, and others clamoring for work, will have their chance. A flipper who is looking for a
payday has consigned to Sotheby’s (https://www.sothebys.com/en/buy/auction/2020/contemporary-
art-day-an-online-auction/matthew-wong-untitled?locale=en) a small watercolor on paper two years
after buying it at the artist’s first show at Karma in 2018—and just months after his tragic death. It’s
the first time one of Wong’s works has come to auction. Undeterred by the optics, Sotheby’s gave
the watercolor primo billing, slotting it first in its online Contemporary Art Day Sale, which is live
for bidding until May 14. As of press time, 13 bids had already been lodged for the watercolor (one
literally as this column was being edited), and the price hit $19,000—$4,000 above its high
estimate, with a full week left to go.

BADER’S BETTER FAIR

Homepage for Inventory. Photo courtesy Darren Bader.

When Frieze New York‘s online edition “opened” to VIPs on Wednesday

(https://news.artnet.com/market/the-virtual-frieze-fair-vip-day-had-startling-results-1854624), untold
thousands logged in and fought their way through gee-whiz gadgetry and slow-load welcome videos
for the glory of seeing a pre-sold $150,000 Avery Singer work on paper float on a computer screen.
But for those a little exhausted by the breathless bluster that now must accompany what are—lest
we forget!—just websites with pictures on them, a welcome reprieve has come in the form of a
project called Inventory (https://inventory-19.com/), a pared-down model for online art sales that
lets emerging artists easily offload work that’s been collecting dust (and costing money) in storage.
The interface is clean, creating a casual way to see some really terrific work by the 20 cool-kid
artists in the initial offering, including Anna-Sophie Berger, Dawn Kasper, Kon Trubkovich, Ajay
Kurian, and Spencer Sweeney.

Perhaps the appealing aesthetic is due to the fact that Inventory is the brainchild not of an art
dealer or market theorist, but of the artist Darren Bader. One could be forgiven for thinking that
“Darren Bader makes an art fair” is an elaborate conceptual artwork, given the fact that much of his
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previous work has poked fun at the absurdities of the art market. (For Art Basel Miami Beach in
 2012, the artist
Enter email gave his dealer Andrew Kreps a work to sell called pretty
address S I G Nface,
U P which came with
this official description: “The work can be anyone at anytime, anywhere, as long as s/he has a pretty
 but rather a real effort to help his fellow artists and their struggling galleries. “Although sometimes
known for my puckish penchants, I believe in our community as a vital, collegial, and compassionate
one,” he said.

POP QUIZ
Congrats to our first repeat winner: Meredith Darrow! The art advisor—and quiz master who
correctly identified the Willem de Kooning statue on Maja Hoffmann‘s Zurich lawn waaaaay back at
the start of March—was the first to correctly identify (https://news.artnet.com/art-world/wet-paint-
segalot-horse-tunick-1849968) both the person in the photo and the work on the wall. The rock
legend is Flea, the bassist for the Red Hot Chili Peppers, and on the wall is a work by Richard
Prince—it’s one of his “Band Paintings.” Runners-up who emailed correct answers within a few
minutes of Darrow were the artist Edward Holland and the dynamic duo of Annie Roff and Angela
Kunicky, who run things over at Mr. Keet—better known as the studio operation of one Urs
Fischer.

Here’s this week’s clue. This is a close up of a work. What is the work and where, specifically, is it?

First person to email nfreeman@artnet.com with the full correct answer gets an extremely rad
shout-out in the best art gossip column on the wild, wild internet.

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 WE HEAR…

Cover of a art world coloring book, with a to-be-drawn-in image by Raymond Pettibon.

Lehmann Maupin secured New York representation of the fiercely sought-after South African artist
Billie Zangewa and debuted her new works at Frieze New York online … the artist Coco Young has
launched (https://www.cinemaquarantine.org/) Cinema Quarantine, a way to watch 15 video works
by the likes of Violet Dennison, Rachel Rose, Korakrit Arunanondchai, and others … Fotofolio
has launched a new website (http://www.fotofolioshop.com/) where you can purchase its delightful
editions of artist-made postcards, complete with stamps, to send from your isolation pods—just in
time to save the U.S. Postal Service … curator Brooke Wise got Jamian Juliano-Villani, Brian
Calvin, Julie Curtiss, Robin F. Williams, Raymond Pettibon, and Chloe Wise to contribute
drawings to “The Fine Art Quarantine Coloring Book,” which is available to print out
Get hand-picked stories from our editors delivered straight to your give
(http://www.thefineartquarantinecoloringbook.com)—and inboxtoevery
your day.
kid to keep them entertained

 for hours!—with a suggested donation to Meals on Wheels.

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 SPOTTED

*** Senator Kamala Harris video-chatting in front of a Banksy print *** Patrons finally back
Get hand-picked stories from the
outside Clandestino, our beloved
editors delivered
art hangstraight
in Dimesto your inboxwhich
Square, every is
day.
now open for takeout ***

 artist
Enter Eliza Douglas in another of those weird, captionless BalenciagaS Instagrams
email address IGN UP *** Helen
 Marden posting about how she and her husband, artist Brice Marden, really enjoyed the Harmony
Korine stoner comedy The Beach Bum *** …And that’s it! Everyone stay home! Even you, Shin
Gallery front desk person! ***

PARTING SHOT

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       

Nate Freeman
Senior Art Business Reporter
(https://news.artnet.com/about/nate-
freeman-1201)

(https://news.artnet.com/about/nate-
freeman-1201)

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