A Florida court has put a temporary block on a Yayoi Kusama Infinity Room at the center of the controversy around dealer Inigo Philbrick, preventing the work from leaving Miami-Dade County. “Without an injunction, FAP [Fine Art Partners] will lose the ability to be made whole because it will lose a unique, one-of-a-kind work,” says Valerie R. Manno, a judge in Miami-Dade County’s Eleventh Judicial Circuit Court, wrote in the temporary injunction issued on Wednesday. “An injunction will allow FAP to litigate its case without fear that the Kusama will disappear into the night.”
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Born in: New York City
Arizona State University California
Institute of the Arts in Valencia, California, where he earned his BFA in 1972.
He then moved to job as a guard at the Museum of Contemporary Art
* Fischl has embraced the description of himself as a painter of the suburbs, not generally considered appropriate subject matter prior to his generation. Some of Fischl’s earlier works have a theme of adolescent sexuality and voyeurism, such as Sleepwalker (1979) Bad Boy (1981) and Birthday Boy (1983) both depict young boys looking at older women shown in provocative poses on a bed. In 2002, Fischl collaborated with the Museum Haus Esters in Krefeld, Germany. Haus Esters is a 1928 home, designed by Mies van der Rohe in 1928 to be a private home. It now houses changing exhibitions.
Fischl refurnished it as a home (though not particularly in Bauhaus style, and hired models who, for several days, pretended to be a couple who lived there. He took 2,000 photographs, which he reworked digitally and used as the basis for a series of paintings, one of which, the monumental Krefeld Project, Bedroom #6 (Surviving the Fall Meant Using You for Handholds) (2004) was purchased by Paul Allen featured in the 2006 Double Take Exhibit at Experience Music Project, where it was juxtaposed with a much smaller Degas pastel. This is by no means the first time Fischl has been compared to Degas. Twenty years earlier, reviewing a show of 28 Fischl paintings at New York’s Whitney Museum, John Russell wrote in the New York Times, “Degas sets up a charged situation with his incomparable subtlety of insight and characterization, and then he goes away and leaves us to figure it out as best we can. That is the tactic of Fischl, too, though the society with which he deals has an unstructured brutality and a violence never far from release that are very different from the nicely calibrated cruelties that Degas recorded.”
* via Wikipedia