Mike Cooter, MacGuffin: some archetypes towards a definition (2016)

Swiss Institute’s Fade In: Int. Art Gallery-Day is a group exhibition featuring an ambitious array of contemporary artists, including Cindy Sherman, Allan McCollum, Christian Marclay, Dora Budor and Jamian Juliano-Villani, interpreting the ubiquitous relationship of moving images to the field of visual art. Comprised mostly of commissioned works, the exhibition transforms the gallery’s spacious interior into a vigorous stage, expanding outwards from the gallery entrance towards a deep corner of the storage room on the lower level. (more…)

The New Yorker takes a look at new work by Christian Marclay, in which the artist has filmed and edited together images of cigarettes and other detritus to show jumps in time and space.  “The burning cigarette is the twentieth-century symbol of time,” Marclay says in an earlier interview. “As a memento mori, we used to show a candle, but a cigarette is so much more modern. Yet it’s the same thing—you see time burning.” (more…)

Christian Marclay, Green Plop on Yellow (2014), via Art Observed

Christian Marclay returns to Paula Cooper this fall with an exhibition of new video work and paintings, continuing the artist’s interests in the intertwining of action and image in pop culture formats.  Here, turning his attention to comic books and graphic novels, the artist’s collagist practices are given a light-hearted twist.

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Christian Marclay, Actions: Smak Squish Splsh (No 2) (2013), all images via White Cube

In his most recent  solo exhibition at the White Cube Bermondsey space, Christian Marclay presents a number of new works exploring the connection between image and sound, performance and artifact. From static onomatopoeias screen printed on canvas, to words racing around a video projection, to live performances within the gallery, Marclay explores the role of sound in art from numerous perspectives and forms, particularly in how they translate from one medium to the next. (more…)

Christian Marclay’s film The Clock, recently closed its one month run at the Museum of Modern Art this week, drawing a record 40,000 visitors to the museum.  The number of visitors exceeds the combined counts for The Clock’s two prior New York screenings.  The winner of the Golden Lion at the 2011 Venice Biennale, Marclay’s film literally tells time, using shots of  various clocks from the full range of film history to compile a full 24-hour viewing experience. (more…)

“The Clock”, Christian Marclay’s 24-hour long video montage, has been acquired by the MoMA and will be on view this month including a special New Year’s eve showing. The film won the Golden Lion at the 2011 Venice Biennale and will be on view at MoMA during public hours. (more…)

John Baldessari at the Edison Ballroom, all photos by Elene Damenia for Art Observed

This year, SculptureCenter honored Paula Cooper with a presentation by John Baldessari and a performance by Christian Marclay. The program included artist projects by Alisa Baremboym, Ian Cheng, and Martin Soto Climent, and the Karaoke Afterparty. New limited edition artworks by Uri Aran, Adam McEwen, and Hanna Sandin were also introduced.

Christian Marclay’s performance (more…)

MoMA will show Christian Marclay’s 24-hour long video installation, “The Clock”, from December 21 through January 21. The film uses a montage of more than 10,000 movie clips featuring clocks, and each scene syncs to real-world time. MoMA will provide 24-hour access to the galleries during January to allow the film to be shown in its entirety, and will have a special New Year’s Eve screening.

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Christian Marclay‘s ‘The Clock’ has returned to New York for viewing at the David Rubenstein Atrium in Lincoln Center. The 24-hour art video is a compilation of thousands of clips from all periods of cinema. With no beginning or end, the film incorporates short clips that correspond precisely to the time when the visitor is viewing the film. Every shot features either an image of a timepiece or a discussion about the time of the day.

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‬The dates of the showing of Christian Marclay’s “The Clock” in New York are released.  The overwhelmingly popular mash-up video work will screen for free at the Lincoln Center’s David Rubenstein Atrium on Broadway from July 13 to August 1.

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‪‬ ‘The Clock’ a real time 24-hour video collage by Christian Marclay (recently a Time Magazine top 100 most influential person) returns to New York this summer at the Lincoln Center Festival, July 5 through August 5

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‪‬Artist Christian Marclay, creator of The Clock, and collector Alice Walton of Crystal Bridges Museum of American Art among Top 100 Most Influential People in the World by Time Magazine

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‪‬Museum of Contemporary Art Australia reopens after $55 million renovation with ‘Marking Time’ exhibition to include both well-known and lesser-known artists, with Christian Marclay’s ‘The Clock’ 24 hour screenings each weekend, and after-hours entirely nude group tours of the museum led by Stuart Ringholt [AO Newslink]

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‪‬The Tate, Centre Pompidou in Paris, and the Israel Museum in Jerusalem jointly, through a time share structure, acquire Christian Marclay’s ‘Clock’ video work, agreeing to show in only one location at a time [AO Newslink]

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‪‬New York Magazine proclaims top ten art shows of the year, championing ‘The Clock’ by Christian Marclay [AO Newslink]

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Christian Marclay, Cassette Grid No. 9 (2009). All Images courtesy Fraenkel Gallery and Paula Cooper Gallery.

A series of cyanotype photograms by Christian Marclay are on display at the Fraenkel Gallery in San Francisco until October 29th. The exhibition explores the interplay between two outdated recording methods—the cyanotype and the audio cassette—in a fashion both new and yet consistent with the work of Marclay. Commonly referred to as “blueprints” because of the silhouetted blue images produced, cyanotypes are prints uniquely created by placing objects on photosensitive surfaces. Developed in the 1840s and popularized by botanists, architects, and engineers who used the method to reproduce drawings and artifacts with only tracing paper and sunlight, Marclay’s use of the cyanotype continues his exploration of the artistic practice of record-keeping, especially with respect to both audio and visual representations.

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The MoMA adds itself to the list of museums that have acquired Christian Marclay’s crowd-drawing video piece, The Clock [AO Newslink]

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Christian Marclay, The Clock (still), 2010. Via River00000

Debuting at White Cube this past October (and already covered by AO), Christian Marclay‘s The Clock has been warmly accepted in New York at the Paula Cooper Gallery, with several 24-hour screenings throughout the exhibition, through February 19th. Splicing together a day’s worth of found film, the artist and six assistants spent two years on the project, drawing from classics like “Great Expectations” and “Mary Poppins,” to more recent films like “Tomb Raider.” Every single clip makes reference to the time—moving in realtime—with clocks synced to the actual time of New York (or wherever it’s showing). The highly acclaimed work is to be included in the British Art Show 7, a group exhibition ran only every five years, touring to the Hayward Gallery, Tramway-Glasgow, and Plymouth Art Centre later this year.

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Team Gallery Booth at Art Basel 2010, Image via Art Basel.

AO is on site at Art Basel, Switzerland, where Wednesday marked the official, public opening of the international show.  On the roster was an inaugural Conversation Series speech by Paul McCarthy, an Art Film at Stadtkino Basel, and an Artist’s Talk with Rodney Graham at Kunstmuseum.  If the congenial and thronged atmosphere hadn’t tipped us off to the anticipation surrounding this year’s exhibitions, Tuesday’s sales would have been a clear indication.   A $15 million Picasso 1960 plaster maquette, Personnage, was snatched up immediately from Krugier Gallery by one of the VIP guests (an American collector) invited to Basel’s early opening, as was a line drawing by the same artist, one by Egon Schiele, and paintings by Max Ernst and Paul Klee. Sara Kay of the Geneva- and New York-based Kugier Gallery was unable to disclose the buyer of yesterday’s Picasso sale, but ten minutes after the purchase’s confirmation noted to Art Info that “[The] piece went to a very important collector with the best modern masters.  This is museum-quality, not trophy-level. It’s a very serious piece.” Skarstedt Gallery also enjoyed a  meritorious patronage yesterday, with sales including a Christopher Wool painting, Untitled, for $800,000, a Barbara Kruger photograph for $700,000, a Cindy Sherman piece for $500,000, and two works by George Condo: The Madman and The Colorful Banker, which fetched $375,000 and $225,000, respectively.  Hufkens Gallery sold a Louise Bourgeois etching, A Baudelaire (#7), which the late artist completed several months before her death in May, for $650,000 to a European collector.  Cheim & Read boasted a lucrative afternoon as well, with sales including a $2 million Joan Mitchell abstraction, a $125,000 Sam Francis drawing, a $100,000 Ghada Amer painting, Paradise, and a 28-strong Bourgeois watercolor series, Les Fleurs.  Lisson Gallery sold two Anish Kapoor‘s for $742,000.  Richard Prince‘s Student Nurse brought Gagosian $4.2 million, and Paul McCarthy’s bronze suites–Sneezy and Dopey–yielded Hauser & Wirth a combined total of $3 million. Blum & Poe sold a dyptich by Takashi Murakami for $1 million. White Cube reportedly sold six of Damien Hirst‘s new paintings, as well as Hirst’s “Memories of Love,” valued at $3.48 million. Lehmann Maupin sold two neon works by Tracey Emin, each for $74,000.

Damien Hirst, ““Memories of Love,” at White Cube’s booth, sold for $3.48 million. Image by Art Observed.

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From “White Noise,” a group show at the James Cohan Gallery.

The James Cohan Gallery is hosting “White Noise,” a show that incorporates pieces by various artists that focus on silence.  Can one write silence? portray it in art? Is silence merely the absence of sound or an entity in itself? These are among the questions which the performance artists, painters, photographers, installation artists, and video artists of “White Noise” confront, in an exhibition that features an additional four new works specially commissioned for the show.  Nick Cave, Simon Evans, Brendan Fowler, and Fred Tomaselli present exhibition-specific works, alongside those by well-known artists Laurie Anderson, Robert Morris, Joseph Beuys, Yoko Ono, and more.

Related links:
James Cohan Gallery : WHITE NOISE
Exhibition of Sounds to be Looked at and Objects to be Heard at James Cohan Gallery [artdaily]

Jack Pierson, “Silence,” at James Cohan Gallery.

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This photograph taken in Jamaica four years ago, is believed to be Banksy via Daily Mail

After a year long investigation, Graffiti artist Banksy revealed? More here, and here [Daily Mail], [NYTimes], [Supertouchart]
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Ad agencies reverse the long-evident trend of artists poaching from popular ads by creating popular ads that poach from artists [NYTimes]
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A profile of Roman Abramovich’s girlfriend, Daria “Dasha” Zhukova, a new player on the art scene [TimesUK]
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Previously thought ‘fake’ is a Rembrandt, but not a self-portrait [The Art Newspaper]
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The Sun reviews Art Market tome ‘The $12 Million Stuffed Shark’ previously covered by AO here [NYSun]
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On Page Six: 303 Gallery employee fired for mistaking Marc Jacobs for a homeless man and Andres Serrano keeps it gritty in his new Chelsea show [NYPost]
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MoMA assembles modern prefab houses in adjacent vacant lot [NYTimesMag]