Don’t Miss – New York: David Zwirner “The House Without the Door” through August 5th, 2011

Thursday, August 4th, 2011


Charles Ledray, Bone Rocker (1995), with Robert Gober, Untitled (1984-88) (left) and Luc Tuymans, Plates (2011), right. All images Nicolas Linnert for Art Observed.

David Zwirner‘s summer exhibition, The House Without the Door, makes a curatorial departure from Emily Dickinson’s poem of a similar name. The works center around themes of interiority and domesticity, alluding to both the poet’s reclusive personality and her writing’s exploration of issues stemming from such a lifestyle, which moved past memories and objects towards intense introspection and deep-seated feelings of anxiety and trauma.

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GO SEE – New York: Louise Bourgeois ‘The Fabric Works’ at Cheim & Read, through June 25, 2011

Saturday, May 28th, 2011


All images are of “The Fabric Works,” an exhibition of Louise Bourgeois’s fabric drawings, sculpture, and installation at Cheim & Read.

New York gallery Cheim & Read is currently showing Louise Bourgeois’s self-defined “fabric drawings.” On display is 2002 – 2010, in form of appropriated clothing, that is, re-appropriated fabric. Closing on June 25, the exhibition is scissorwork, collage made from the very pieces that are necessary, to conceal to and to live. “The sewing,” Bourgeois wrote, “is my attempt to keep things together and make things whole.”

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Go See – Buenos Aires: Louise Bourgeois’ “The Return of the Repressed” at Fundación Proa through June 19th, 2011.

Friday, April 8th, 2011


Louise Bourgeois, Arch of Hysteria (1993). via Fundación Proa

In late march, The Fundación Proa, a prominent cultural center in Buenos Aires, Argentina became host a to an impressive retrospective of world-renowned French – American Artist Louise Bourgeois. Bourgeois, who was born in Paris and later moved to New York, worked mainly in sculpture and is recognized for her contribution to the American Abstract Artists’ Group. Her work is largely autobiographical, drawing inspiration from trauma suffered in early childhood and describing the later emotional turmoil she underwent. For the first time in Argentina, a wide range of Bourgeois’ life’s work will be on display, including samples of her various mediums of production such as sculpture and installation and even a collection of her writings on psychoanalysis. The exhibition, entitled “Louise Bourgeois: The Return of the Repressed”, will additionally feature a cast of the prominent giant spider sculpture “Maman” (“mother” in French) guarding the entrance to the Fundación Proa. The replications of “Maman” maintain equally conspicuous and permanent positions in London, St Petersburg, Seoul, and Tokyo.


A view of the entrance to the Fundación Proa in Buenos Aires via Why on Earth Did I Move to Argentina?

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AO Onsite Auction Results: Sotheby’s Contemporary Art Evening Sale on Tuesday Nov. 9th Realizes $222.5M; Warhol and Rothko are Top Lots

Wednesday, November 10th, 2010


Andy Warhol, Coca-Cola [4] [Large Coca-Cola], 1962 (est. $20-25 million, realized $34.5 million), via Sothebys.com

Auction goers at Sotheby’s Contemporary Art Evening Sale on Tuesday night were offered glass bottles of Coca-Cola before entering the saleroom in honor of the auction’s featured lot – Andy Warhol‘s Coca-Cola [4] [Large Coca-Cola]. The painting sold for $35.4 million against a high presale estimate of $25 million and was, like the Warhol for sale at Phillips Monday night, the evening’s top lot. The Sotheby’s auction was comprised of 54 lots (not including a work by Felix Gonzales-Torres, which was withdrawn) that brought in $222.5 million against presale estimates of $151.8-214.5 million. The sale had a sell through rate of 90.7% by lot and 97.1% by value with 5 of 54 lots unsold.

More after the jump…

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Go See – New York: Louise Bourgeois and Tracey Emin “Do Not Abandon Me” at Carolina Nitsch through November 13, 2010

Tuesday, September 21st, 2010


Louise Bourgeois and Tracey Emin, Deep inside my heart, 2009-2010. All images courtesy of Carolina Nitsch Projects.

During the last two years of her life, feminist sculptor Louise Bourgeois (1911-2010) collaborated with the self-revealing YBA artist Tracey Emin on a series of prints entitled DO NOT ABANDON ME, published in an edition of 18 by Carolina Nitsch. Emin spoke of her friendship with the 98 year old artist in an interview with Kisa Lala in early 2010, stating: “I asked if I could meet her, and she said yes. Now we’re doing a collaboration. Louise makes watercolor prints and I do drawings over the top.” The prints use a new technique that transfers the dye from Bourgeois’ original gouache drawings onto fabric, to which Emin added text and drawings in black ink.


Artists Bourgeois and Emin, 2010, by Brigitte Cornand.

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Go See – Athens: Louise Bourgeois at the Museum of Cycladic Art through September 12, 2010

Saturday, August 7th, 2010


Avenza Revisited II (1968-1969) by Louise Bourgeois, via Museum of Cycladic Art

Currently on view at the Museum of Cycladic Art in Athens, Greece is an exhibition featuring the work of late artist Louise Bourgeois (1911-2010). The exhibit highlights a body of the artists sculptural work known as the “Personages,” which Bourgeois produced between 1947 and 1953. These totem-like objects have Surrealist origins, and explore the subconscious human sentiments of anger, sexuality, fear and suffering. Eight of these “Personages” are displayed alongside the artist’s most recent series of gouaches.

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AO on site – Final installment and news summary – Art Basel, Switzerland, sets attendance records, sets very positive tone, concludes

Monday, June 21st, 2010


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Quilt by Alexandre da Cunha, and Six Billboards by Angus Fairhust, Art Basel.  Image via Art Daily, AP Photo/Keystone/Georgios Kefalas.

Yesterday marked the end of the most highly-attended Art Basel to date. The 41st annual contemporary art fair boasted 306 galleries from 36 countries, and AO was on site to peruse the work of some 2,5000 artists.  62,500 dealers, collectors, curators, high-profile shoppers, artists, and art appreciators navigated installations, browsed gallery booths, mingled, and enjoyed the city of Basel.  Artists, established and newcomers both, showcased works ranging from Polaroids to performance pieces, paintings to videos, sculptures to large-scale installations.  A social and teeming affair with an obvious commercial edge, Basel’s sales were optimistic.  Picasso, Warhol, Prince, Hirst, de Kooning, Pollock, and other similarly established artists reigned supreme as the focus of this year’s event.  Franck Giraud, a New York dealer, spoke to the New York Times about the lack of prominently featured up-and-comers: “Is it because that’s what the market wants, or is it because dealers didn’t want to take risks? I think it was a bit of both.” Nonetheless, certain galleries used Basel as a platform to introduce new artists and show off their latest signings.

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Go See – Berlin: ‘Hans Bellmer-Louise Bourgeois Double Sexus’ at Sammlung Scharf-Gerstenberg through August 15th, 2010

Saturday, June 19th, 2010


Louise Bourgeois, Fragile Goddess, 2002, cloth, 31.7 x 12.7 x 15.2 cm, courtesy of The Sammlung Scharf-Gerstenberg Museum.

The Sammlung Scharf-Gerstenberg, Berlin’s museum of Surrealist art, is currently holding its first temporary exhibition co-curated by Udo Kittelmann and Kyllikki Zacharias. Kittelmann had the idea to create a curatorial dialogue between the work of Louise Bourgeois and Hans Bellmer before the museum’s opening in June 2008. ‘Hans Bellmer-Louise Bourgeois Double Sexus’ consists of over seventy works by Bellmer and Bourgeois, including sculpture, graphic art, and photographs.


Hans Bellmer, Die Puppe, 1935-1965, cast aluminum on gold plated bronze, 50 x 27 x 25 cm, courtesy of The Sammlung Scharf-Gerstenberg Museum.

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AO On Site Report #2 – Art Basel, Switzerland, Focus on Quality Drives Buyers

Friday, June 18th, 2010


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 FleursLisson 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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AO On Site – Art Basel, Switzerland: Art 41 Basel Preview, Buyers Active

Tuesday, June 15th, 2010


Art 41 Basel, entrance view. All images by Art Observed unless otherwise noted.

AO was on site yesterday at Art 41 Basel, Switzerland, to see the 56 installations exhibited by the eleventh Art Unlimited, a museum-like forum for sizable and high-priced pieces. Installations of established masters and up-and-comers alike are characteristically oversized this year, with six pieces taking up over 200 square meters.  Despite the diversity of work, galleries, and featured artists, a distinct tonal resonance pervades Art Unlimited.  The lustrous style favored by Art Unlimited’s formative years gives way to a bold, rustic minimalism.  Although an intellectual understatement saturates this year’s Art Basel, Art Unlimited is hardly a quaint affair.  Economists and art experts alike are predicting major acquisitions for the international art elite, with a Giacometti and a Bourgeois notably up for grabs.

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AO Breaking News: Louise Bourgeois Dies Today at age 98 in New York

Monday, May 31st, 2010


Louise Bourgeois in her Brooklyn studio in 1992. Photo courtesy The New York Times.

Louise Bourgeois, one of the world’s most celebrated sculptors, passed away today at the age of 98. The news was announced by an Italian foundation preparing an exhibition of the artist’s work in Venice, and was confirmed by Wendy Williams, the managing director of the Louise Bourgeois Studio. The cause of death was heart attack, and occurred at the Beth Israel Medical Center. Bourgeois was a leader of feminist art, and is known most recently for her large-scale metal spider sculptures, as well as psychologically-charged roughly-textured depictions of sex organs.


Bourgeois’s 30-ft spider sculpture outside the Tate Modern in 2007. Photo courtesy the BBC.

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AO Onsite Auction Results: A rare self-portrait by Andy Warhol headlines Sotheby’s Contemporary evening sale Wednesday, May 12th, in New York

Thursday, May 13th, 2010


Untitled, Maurizio Cattelan (2001) Estimate: $3–4 million Price Realized: $7.9 million

Last night, Sotheby’s confirmed the art market’s return to form as 50 of the 53 lots on offer sold at its Contemporary art sale.  Tallying $189,969,000 in sales, well over the house’s $162 million pre-sale estimate, 39 works fetched more than one million dollars, with two selling for more than $30 million, and seven making more than $5 million. Further to this, the sale achieved the two top lots achieved so far at New York’s Contemporary sales week, surpassing Christie’s sale of Jasper Johns Flag for $29 million on Tuesday night  – Andy Warhol’s Self-Portrait more than doubled its high estimate to sell for $32,562,500, and an Untitled Mark Rothko painting from 1961 soared over the high estimate to sell for $31,442,500.


Self Portrait, Andy Warhol (1986). Estimate: $10-15 million. Price Realized: $32,562,500

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AO On Site – SculptureCenter’s Lucky Draw 2010, April 13th, 2010, Long Island City, New York

Wednesday, April 21st, 2010


SculptureCenter’s annual fundraising event, Lucky Draw 2010. All images via SculptureCenter.

AO was on site for Lucky Draw 2010, a spirited annual benefit thrown by SculptureCenter to raise money for its exhibition program.  This year’s event set a new record for the highest gross, bringing in over $120,000 to the non-for-profit arts institution located in Long Island City, New York.


Volunteers moving a work by Kerstin Brätsch and Adele Röder (DAS INSTITUT)

On April 13, 2010, as ticket holders surveyed the offerings and made lists of their top picks, no one seemed to worry that the event’s unlucky date would disturb anyone’s luck.  The room was abuzz with excitement: unlike most art auctions, in this event the order in which the artworks are selected is determined by a lively and suspenseful random drawing.  The ticket price, at $450 a head, draws both novice and experienced collectors.

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Newslinks for Monday, November 16th, 2009

Monday, November 16th, 2009


The Royal College of Art Secret Postcard fundraiser via The Guardian

-The Royal College of Art’s Secret 2009 event has 2,500 postcards for sale for £40, made by artists including Anish Kapoor, Grayson Perry and Yoko Ono.  Though buyers don’t know who the artist is until after they buy. [Times UK]

-Penelope Curtis has been appointed director of Tate Britain, the first woman to hold a directorship at Tate. [Guardian]

-Tracey Emin opens a new exhibition in New York, that, while popular, comes nowhere near the levels of sales or attendance she normal receives in Britain. [NY Times]


An artist’s rendering of Olafur Eliasson’s ‘Cirkelbroen’ bridge to be built in Copenhagen via Artinfo

-Olafur Eliasson has designed a bridge to be completed by 2012 in Copenhagen’s harbor. Called ‘Brikelbroen,’ the bridge is comprised of five circles that take pedestrians on a winding path rather than straight across. [Artinfo]

To stay apprised of most of the relevant art news for this past week… (more…)

AO News: Winners of ‘Rob Pruitt Presents: The First Annual Art Awards’ Announced at Ceremony at the Guggenheim Museum

Friday, October 30th, 2009


The First Annual Art Awards via Guggenheim.org

Last night, October 29, marked the inauguration of a new annual art event: Rob Pruitt presented The First Annual Art Awards at the Solomon R. Guggenheim Museum, New Yorkin association with the city’s oldest alternative art space, White Columns.

The awards were conceived by artist, Rob Pruitt, as a performance-based artwork; for the occasion he recruited the characters of Index Magazine’s wry satirical web series, Delusional Downtown Divas. The New York Times have reported that “…the Divas schemed to infiltrate the art establishment by any means possible. In one segment they pitched a tent in the Guggenheim, doing their laundry in the lobby fountain.”


Jeffrey Deitch and Kembra Pfahler at The First Annual Art Awards at the Solomon R. Guggenheim Museum via style.com

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AO Onsite: FIAC Has Begun in Paris and will run through October 25th

Thursday, October 22nd, 2009


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Portrait of Geoff Dyer Talking, Francis Bacon (1966) at FIAC, Paris

If Frieze opened willing to court the unavoidable media speculation about sales or the lack of them: FIAC, and the exhibitors it houses this year, have in the early stages proved characteristically reticent. Not to mention laconic. At least on the surface. This morning there was little sign that much of Paris and beyond would descend on the Grand Palais and the Cour Carrée du Louvre at noon.


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Visitors to FIAC at Grand Palais, Paris

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AO On Site; Frieze Round-Up: Frieze Art Fair opens under a persistent recession, but closes much more positively

Tuesday, October 20th, 2009

On Thursday, October 15, Frieze Art Fair opened in London under media speculation about how gravely the meltdown of the world’s financial markets has hit the art world. Despite anticipation from all involved for a more cautious and flat atmosphere, walking around the fair this weekend one could not help but notice the general buzz.


Xerxes, Gilbert & George (2008)

Related Links:

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AO OnSite: Frieze Art Fair Has Begun in Regent’s Park in London and will run through October 18th

Friday, October 16th, 2009


Frieze Art Fair entrance in Regent’s Park, London

Art Observed is currently on site at the seventh edition of Europe’s largest contemporary art fair: Frieze which is on show in London’s Regent’s Park through October 18th.  The 164 exhibiting galleries represent the most exciting contemporary artists working today and for the past two years Frieze Art Fair has attracted over 60,000 visitors over the three day period for which it is active.  In addition to this, the fair not only attracts curators and collectors but encourages participation by all: over the three days the fair presents a curated program of talks, artists’ commissions and film projects, many of which are interactive or performative and encourage visitors to engage with art and artists directly.


A view of the booth of Galerie Emmanuel Perrotin with work from Xavier Veilhan in the foreground and Duane Hanson in the background at Frieze Art Fair via abcnews.go.com

Related Links:
Art out of the ordinary [TimesOnline]
Frieze gets off to fizz-popping start
[The Guardian]
A chair you can actually sit on [WSJ]
Autumn Fairs Are a Barometer of the Art Market [NYTimes]
Abramovic, Paltrow browse at Freize as buyers haggle [Bloomberg]
Chill of recession hits London Frieze art bonanza [Reuters.com]
Introducing the Frieze Art Fair [Telegraph.co.uk]
Party of the Weel: No sign of the Crunch at Frieze Art Fair [The Independent]
Recession chill hits Frieze Art Fair [Channel4.com]
Roll up for moody modern masterpieces:it’s the Frieze art fair
[The Guardian]
Frieze Art Fair Opens to Steady Sales, Gray Art
[WSJ]
Frieze Art fair: test your knowledge. A quiz to find out if you’re an art aficionado or Frieze faker
[The Guardian]
London Calling a Spate of Artists to their Openings [NYTimes]
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Newslinks for Monday September 27th 2009

Monday, September 28th, 2009


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Installation view of Anish Kapoor’s work at the Royal Academy of Arts in London via BBC

Anish Kapoor, the first living artist to exhibit at the Royal Academy of Arts in London, installs a work that shoots red paint to the walls of the famed 18th century building [The Wall Street Journal]
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Jeff Koons to be the curator of the New Museum show of Dakis Joannou’s collection, including works by Maurizio Cattelan, Urs Fischer, Robert Gober, Chris Ofili, and Jeff Koons himself
[The New York Times]
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Russia’s biggest contemporary-art fair opened September 23, 2009 in Moscow to coincide with Third Moscow Biennale of Contemporary Art
[Bloomberg]
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Donald Fischer, founder of Gap and art collector, loses his battle to cancer at 81; his collection will be permanently housed at San Fransisco Museum of Modern Art
[San Francisco Chronicle]
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Artist Ed Ruscha stars in a film by video artist Doug Aitken to be projected as installation entitled “Frontier” on Tiberina island in Rome
[The Art Newspaper]
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Andreas Gursky, his works and Pop influences, mainly Warhol’s, as analyzed in the Economist conclude “99 cents II (Diptych)” as the artist’s most important piece
[Economist]


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Ryan McGinness via J. Crew

Last summer painter Alex Katz modeled clothes for J. Crew catalog; this year seven New York artists, including Ryan McGinness and Vito Acconci, are featured [J.Crew]
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Tate Modern to recreate a 1992 exhibition that took place in New York’s Leo Castelli and was criticized as racist; 15 years later Tate curators appropriate the show as a part of a bigger Pop Life: Art in a Material World exhibit and hope for a different reaction
[The Independent]
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A Sigmar Polke painting, Untitled – Oil on Drape (1969), stolen directly from the artist’s atelier, the police deliberates the thief could only be someone with access to the space
[Artforum]
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Frieze Art Fair 2009 announces the details of its sculpture park, in London’s Regent’s Park; “Henry Moore Bound to Fail” by American artist Paul McCarthy is to remain on display for six months
[Frieze Art Fair]


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Guggenheim Museum Art Award via The New York Times

Louise Bourgeois, Urs Fischer, Dan Graham and Mary Heilmann are among the select individuals nominated for the First Annual Art Awards Guggenheim Museum announced this week [The New York Times] In related, the Frieze Art Fair announced the call for entries to The Cartier Award 2010 [Art Review]     
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Results from Sotheby’s mid-season Contemporary Art Sale
details at Art Market Monitor [Sotheby's]
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The British Arts Council and the London 2012 organization announce Anthony McCall as a finalist in their nationwide initiative to commission public art in celebration of the upcoming Olympics. McCall has proposed a 1,5 mile earth sculpture in the form of a simulated vertical cloud in Liverpool [ArtInfo]
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A detailed survey of Contemporary-Art Auction values in the midst of economic crises as influenced by several variables, show a significant decrease [Bloomberg]
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65 year old Jehuda Reinharz, President of Brandeis University- home to Rose Art Museum housing works by artists such as Warhol and De Kooning, is to resign [Los Angeles Times]


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Sophie Calle photographed by Yves Geant via Guardian UK

France’s conceptual artist Sophie Calle’s path to art world recognition as examined through a personal perspective: stripping, spying, sleeping, “seducing her father” all turned into artistic practice [Guardian UK]
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At Westminster Cathedral, British painter Peter Doig is to create a new installation to coincide with a concert from the British pianist Stephen Hough whom he met after a recital in London in 2008 [Art Review]
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Two new co-directors, both previously with Art Basel, promote this year’s Art Forum Berlin to attract some of the city’s big name art galleries, among which: Max Hetzler, Johann König, Klosterfelde and Neugerriemschneider [Financial Times] and here is some video of the event [Vernissage TV]
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60 Galleries are not returning to Art Basel Miami Beach, but 65 new ones are added, hence the fair grows in quantity [Lindsay Pollock]


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Picasso’s sketch to be auctioned via Guardian UK

Picasso’s sketch that must have taken seconds to produce is expected to sell for more than £20,000 at Duke’s auction [Guardian UK]
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Christie’s “First Open” Post-War and Contemporary Art sale brings in good results, appealing to many buyers while providing a wide range of pricing and themes [Art in America]
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Christie’s Frieze exhibitions and auctions dedicated to Post-War and Contemporary Art will include works by artists such as Lucio Fontana, Damien Hirst and Gerhard Richter [ArtDaily]
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Museum of Contemorary Art in Los Angeles raises $60 million since December 2008 when it had revealed its financial troubles
[Culture Monster]
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Annie Leibovitz and Damien Hirst to design for Louis Vuitton [Elle UK]

SILLINESS OF TODAY’S HORROR MOVIES INSPIRATION FOR WAYANS BROTHERS.(What’s Happening)

Seattle Post-Intelligencer July 14, 2000 Most fans just laugh at how silly horror movies have become. Three of filmdom’s Wayans brothers decided to parlay their reaction into real laughs in “Scary Movie.” “It’s like `Airplane,’ ” says director Keenan Ivory Wayans. “Those guys knew that the disaster genre had been beaten to death.

“In horror, you’ve had the Jason series, the Freddy series, the `Scream’ series. This genre’s been played to death. . . . Same thing with `Don’t Be a Menace . . . ‘ You had `Boyz N the Hood,’ `South Central.’ ” The makers of “Scary Movie,” which had a huge opening last weekend, are no strangers to parody. Wayans targeted blaxploitation films when he wrote, directed and starred in the 1988 comedy “I’m Gonna Git You Sucka.” He also acted in “Don’t Be a Menace to South Central While Drinking Your Juice in the Hood,” the 1996 comedy written by and starring younger brothers Shawn and Marlon Wayans. in our site horror movies 2010

“If you can find a genre’s that’s beaten itself to death and has sort of ingrained itself in popular culture, then it’s ripe for parody,” says Keenan, 42.

“Scary Movie” originated with Shawn, 29, and Marlon, who’ll turn 28 on July 23. “All they do all day is call me,” Keenan Wayans said in an interview. “They sit in the house, and they call me, like, four times a day, going, `Is there something in this?’ And I’ll go, `No, that’s ridiculous.’ “And then they called me and said, `Is there something in the idea of doing a parody of all these teen horror movies?’ And I said, `Yeah, there’s definitely something in that.’ ” The younger Wayanses got together with Buddy Johnson, who’d served as executive story editor on their WB sitcom “The Wayans Brothers,” and Phil Beauman, who co-wrote “Don’t Be a Menace” and wrote for “In Living Color,” the sketch-comedy show created by Keenan in the early ’90s, and wrote a script. in our site horror movies 2010

“And 10 drafts later . . . it got made,” says Keenan. (Two other writers who’d come up with a similar idea are also credited because Miramax bought their script to avoid legal hassles.) Inspiration for “Scary Movie” came from sitting in theaters, watching the recent horror films and seeing how ridiculous they were, Marlon Wayans says.

“The first `Scream’ was good,” he says. “Then they do the sequel and they do `I Know What You Still Did Last Summer’ and . . . `Urban Legend.’ ” “Scary Movie” goofs on all the usual suspects plus “The Usual Suspects,” “The Sixth Sense,” and “The Blair Witch Project.” Marlon and Shawn wrote parts for themselves, naturally, but neither of them is the main character.

While the “Scream” films satirize the horror genre, “they just heightened where you need to go in terms of showing comedy,” says Marlon Wayans. “They make commentary. We show.” “They had an actual, real killer,” says Shawn Wayans. “We had a killer, but we made fun of what was funny about the killer in those movies.” “Scary Movie” also follows in the footsteps of gross-out comedies such as “There’s Something About Mary” and “South Park: Bigger, Longer & Uncut.” “ `Something About Mary’ and `South Park’ kind of opened up the door,” says Marlon Wayans. “What you do is, you go, `OK, y’all like that? Well, wait till you get a load of this!’ “What we’re doing with the comedy, pushing the envelope like that, is making a parody statement itself. Like, `Look at all the crazy things that people are doing out there.’ And teens love it.” What the Wayanses love is working with each other. Even though they couldn’t come up with roles for brother Damon or sister Kim, “Scary Movie” was a family affair.

Marlon and Shawn expect to continue collaborating. “I like working with him,” says Marlon. “I slept in a bed with him for 16 years. I had his feet in my face my whole life, so this is my best friend.” As for having big brother direct, that was a no-brainer. “Keenan is great,” says Shawn. “I think he’s a genius, and we totally respect his work. He taught us everything we know about comedy and just about life, period.

“It’s kind of like he’s been the director of our life anyway.” Adds Marlon: “So to finally get paid to be bossed around, hey!”

Go See – New York: 'THE FEMALE GAZE: WOMEN LOOK AT WOMEN' featuring Roni Horn, Diane Arbus, Mickalene Thomas, Louise Bourgeois, Alice Neel, Marilyn Minter, Vanessa Beecroft, Jenny Holzer, Sarah Lucas, Catherine Opie, Kara Walker, Marina Abramovic, Cindy Sherman, Tracy Emin, Lisa Yuskavage, Nan Goldin, Marlene Dumas and more at Cheim & Read through September 19, 2009

Tuesday, August 4th, 2009


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Exhibition view, “The Female Gaze: Woman Look at Women,” at Cheim & Read. Pictured works include Victoria Civera’s Searcher (far left) and Vanessa Beecroft’s Blonde Figure Lying (floor).

Through September 19, 2009, Cheim & Read will show “The Female Gaze: Women Look At Women.”  Featured are works by women of women, with aim to reorient the typically-male framing of women in art.  Works range in medium from the paintings of Alice Neel and Lisa Yuskavage to the sculptures of Kara Walker, the text poems of Jenny Holzer and the photographs by Diane Arbus, the installations by Louise Bourgeois and even collage work by Ellen Gallagher.

Related links:
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Cheim & Read – Exhibition – The Female Gaze [Cheim and Read]
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Now Hanging: Girlie Show [The Moment Blog, New York Times]
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The Female Gaze, The Cheim and Read Gallery, New York [Financial Times]
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The Female Gaze: Women look at Women [Artforum]
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“The Female Gaze: Women Look at Women” at Cheim & Reid [Contemporary Art Daily]


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Cindy Sherman, Untitled, at Cheim & Read.

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Go See – Paris: “elles@centrepompidou” at Pompidou Center from May 27

Monday, June 1st, 2009


Suzanne Valadon, “La Chambre Bleue” (The Blue Room) (1932) via Centre Pompidou

For an entire year (May 27, 2009 to May 24, 2010), Paris’ Pompidou Center is dedicating the space its reserves for the Museum’s permanent collection to the work of female artists, effectively re-transcribing the history of art since the beginning of the twentieth century from a gendered perspective.  The exhibit, which spans 6,000 square meters, presents over 500 works by 200 artists.  These works are drawn entirely from the museum’s own permanent collection of modern and contemporary art, the largest in Europe and one of the largest in the world.  Following “Big Bang” in 2005 and “Mouvement des Images” in 2006-7, this is the third time in recent years that the Centre Pompidou chooses to display its collection in an original way.  It is also considered the most polemic, with critics either applauding this marked gesture of support to women artists or disapproving of its segregation.

Related Links:
Elles@centrepompidou [Pompidou Center]
Centre Pompidou Dedicates Exhibition to Women: elles@centrepompidou [Art Daily]
At Paris’ Pompidou Center, the Year of the Women [LA Times]
Pompidou Gets Set to Become Women’s Only Institution [Art Review]

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AO On Site with Photo Essay: 2009 New York Armory Show and Armory Modern, plus opening party at MoMA with Gang Gang Dance

Saturday, March 7th, 2009

David Zwirner booth at the Armory, showing Yan Pei-Ming, John McCracken, and Rachel Khedoori.

New York Armory Week 2009 is in full swing, with attendance higher than expected moving into the weekend.  Despite the absence of several blue chip galleries – including Matthew Marks and Lehmann Maupin – the gallerists’ collective mood seems hesitant but optimistic.  177 contemporary galleries are exhibiting in the Armory’s 11th year, along with the addition of a Modern wing at Pier 92 selling more established, less edgy work.

The Armory Show 2009 and the Armory Modern
Piers 92 and 94
12th Avenue at 54th Street
March 4-8, 2009


Armory Opening Party at MoMA.

RELATED LINKS
Sales still down, but spirits are buoyant [Art Newspaper]
On the Piers, Testing the Waters in a Down Art Market [New York Times]
Has the Recession Sparked a New Renaissance? [Guardian UK]
On the Scene at the Armory Preview Party [Style File Blog]
MoMA’s Armory Show Opening Benefit Party [Patrick McMullan]
Armory MoMA After Party [Guest of a Guest]
Now Dealing | The Armory Show
[TheMoment]
Window-shoppers Descend on Armory Art Show
[NYMag]
What’s Selling (or Not) at the New York Armory Show [NYMag]
‘Creepy’ Bernie Madoff Watercolor Fails to Sell at Armory Show
[NYMag]
Dealers Sold on Armory Modern, Collectors Less So [ArtInfo]
The Herd Is Out, but Holding Back
[ArtInfo]

more stories and photos after the jump…

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AO On Site: Glass-Half Full @ Miami Art Basel Vernissage Wednesday, Dec 2nd, 2008

Friday, December 5th, 2008


Grayson Perry; Entrance To The Forest; 2002; Victoria Miro Gallery; London -Photos by ArtObserved

“The surprise is the business we are doing. Frankly, people are expressing more confidence in the art market than the government or Wall Street right now,” said Sean Kelly of Sean Kelly Gallery. The night of December 2nd, Vernissage attendees glittered and Piper Heidsieck champagne flowed.  More importantly, buyers were in attendance, asking questions and indeed, according to most of the galleries interviewed for this article, buying.  On Thursday afternoon, Douglas Baxter, President of Pace Wildenstein professed “We’ve met expectations.” Also on Thursday, when asked his feelings on sales from the night before, a representative at Cheim & Read insisted his artists have been selling well, pointing to Jack Pierson sculpture and a pile of William Eggleston’s photos.  Margherita Belaief of Peres Projects had the same confidence, “It’s hard to say so early but in general, Dash Snow’s pieces are selling strong.”  While hesitant to disclose precise numbers, the overall sentiment of the top galleries was optimistic.

However, it’s important to note while the larger known artists have been selling strong, some galleries have reported some difficulty selling lesser known artist pieces.  Alfons Klosterfelde at Klosterfelde was most direct: “People are asking more questions and really want to know the details,” but he said pointedly as of Thursday, “there have been less sales” and Klosterfelde remarked the pieces sold were from the gallery’s more known artists.

Photos and Writing by Faith-Ann Young

more pictures and story after the jump…

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Go See: Louise Bourgeois ‘Echo’ at Cheim & Read NYC, through November 1, 2008

Wednesday, September 10th, 2008


Echo (2008) Louise Bourgeois via Cheim & Read

Louise Bourgeois revisits familiar themes in her exhibition Echos, on display now at Cheim & Read. Like Bourgeois’s recent retrospective held at the Guggenheim this past June Echos concentrates on the themes of home, family, motherhood, and sexuality. Echos examines the constructs of the female identity, especially those in conflict such as female/male, organic/geometric, and particular to this exhibit mother/father. Comprised of discarded clothing and aged painted wood the featured sculptures are reminiscent of Bourgeois’s earlier work of the 1940’s and 50’s and serve to represent the familial hierarchies. The gouaches on display depict the relations between mother and child and are influenced in part by Bourgeois’s own role as mother as well as the death of her own mother when the artist was twenty. The paintings which are comprised of blood red paint further the organic aesthetic of the exhibit and mirror the artist’s continual emphasis on nature as seen in her mixed-media exhibit held at the Zurich’s Hauser & Wirth this past June covered here.

Louise Bourgeois at Guggenheim [Art Observed]
Louise Bourgeois Echo at Cheim & Read [Cheim & Read]
Louise Bourgeois: Echo at Cheim & Read [Chelsea Art Galleries]

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