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WSJ Tours Massive New Zealand Sculpture Park

May 23rd, 2017

Andy Goldsworthy, via WSJCollector Alan Gibbs gives the Wall Street Journal a tour of his massive sculpture park in Kaipara Harbour, New Zealand.  “It’s hard to hide this place,” he says of the park, which holds works by Anish Kapoor, Sol LeWitt and Maya Lin, among others.  “People see things from the road. That’s how it first got known.” 
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Ai Weiwei to Debut Lego Works at Hirshhorn Next Month

May 23rd, 2017

Ai Weiwei, Trace, via NYTAi Weiwei will mark the East Coast debut of “Trace” (2014), one of his popular lego portrait pieces from his show at Alcatraz Island several years ago, at the Hirshhorn this summer.  “Throughout his distinguished career, Ai has redefined the roles of both an artist and an activist,” director Melissa Chiu said in a statement. “With this new presentation, visitors will experience a special focused consideration of Ai’s most influential and critically acclaimed recent works.”
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Perry Rubinstein Facing Six Months Jail Time After Plea Deal

May 23rd, 2017

Perry Rubinstein, via Art NewspaperArt dealer Perry Rubinstein will serve a six month prison sentence after cutting a plea deal in his court case for grand theft by embezzlement, Art Newspaper reports.  Rubinstein was arrested after failing to pay former Disney CEO Michael Ovitz on the proceeds from a pair of Richard Prince works he sold. 
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REFERENCE LIBRARY

Andy Warhol

Biography

“Andy Warhol began as a commercial illustrator, and a very successful one, doing jobs like shoe ads for I. Miller in a stylish blotty line that derived from Ben Shahn. He first exhibited in an art gallery in 1962, when the Ferus Gallery in Los Angeles showed his 32 Campbell’s Soup Cans, 1961-62. From then on, most of Warhol’s best work was done over a span of about six years, finishing in 1968, when he was shot. And it all flowed from one central insight: that in a culture glutted with information, where most people experience most things at second or third hand through TV and print, through images that become banal and disassociated by repeated again and again and again, there is role for affectless art. You no longer need to be hot and full of feeling. You can be supercool, like a slightly frosted mirror. Not that Warhol worked this out; he didn’t have to. He felt it and embodied it. He was a conduit for a sort of collective American state of mind in which celebrity – the famous image of a person, the famous brand name – had completely replaced both sacredness and solidity.

Earlier artists, like Monet, had painted the same motif in series in order to display minute discriminations of perception, the shift of light and color form hour to hour on a haystack, and how these could be recorded by the subtlety of eye and hand. Warhol’s thirty-two soup cans are about nothing of the kind. They are about sameness (though with different labels): same brand, same size, same paint surface, same fame as product. They mimic the condition of mass advertising, out of which his sensibility had grown. They are much more deadpan than the object which may have partly inspired them, Jasper Johns’s pair of bronze Ballantine ale cans. This affectlessness, this fascinated and yet indifferent take on the object, became the key to Warhol’s work; it is there in the repetition of stars’ faces (Liz, Jackie, Marilyn, Marlon, and the rest), and as a record of the condition of being an uninvolved spectator it speaks eloquently about the condition of image overload in a media saturated culture. Warhol extended it by using silk screen, and not bothering to clean up the imperfections of the print: those slips of the screen, uneven inkings of the roller, and general graininess. What they suggested was not the humanizing touch of the hand but the pervasiveness of routine error and of entropy…”

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