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All-White Manzoni Leads Sotheby’s Frieze-Week Sale, see more @ artinfo.com

Koons Show Vandalized Again, Sex Toy Sculpture Cut Down, and More

— Koons Show Vandalized Again: During the Whitney’s final 36-hour Jeff Koons hurrah, a man identified by the New York Times as Christopher Johnson scrawled a series of letters on one of the exhibit’s fourth floor walls in black spray paint. This is the second time the exhibit has been vandalized, following the painting of an ink-and-blood “X” by Canadian performance artist Istvan Kantor. [ARTnews]

— Sex Toy Sculpture Cut Down: A giant green inflatable sculpture by American artistPaul McCarthy — titled “Tree,” though looking overwhelmingly like a butt plug — was erected in Paris’s Place Vendome on Thursday as part of FIAC’s “Hors les Murs” section, only to be cut down by outraged locals by Saturday. The sculpture will not be reinstated, according to FIAC officials, for fear it will be cut down again; one onlooker reportedly slapped the artist three times across the face during the artwork’s installation. [ArtDaily,NYObserver]

— Perelman v. Gagosian Rages: The legal feud between businessman Ronald O. Perlman and Larry Gagosian shows no signs of slowing, with Perelman spending over $3 million on lawyers and even hiring an FBI investigator, all but precluding the possibility of a settlement. In 2012, both Gagosian and Perelman filed suits against one another over the controversial sale of a Cy Twomblypainting, though Gagosian’s suit was later dropped. “Art is such a beautiful thing,” Perelman told the New York Times. “But it’s been sullied by an ugly business. It needs to be fixed.” [NYT]

— Swiss Bank Sued Over Nazi-Looted Art: The Kainer family is suing the UBS, alleging that the bank didn’t perform an adequate search for them as the rightful beneficiaries of, for example, the $11 million sale of Edgar Degas’s “Danseuses” in 2009. [NYT]

— Architect Michael Graves Opens Up: “My design pet peeve is glass trophies. When you do what I do, there are a lot of institutions that give you awards. I’ve gotten maybe 20 medals. They’re glorious, and there’s a spirit behind them. But sometimes they give you this dreadful modern glass thing. I wish everyone could afford a loving cup.” [WSJ]

— Artist Documents War-Torn Afghanistan: “I don’t want to sound too Victorian, but I feel a sense of obligation and duty. To tell the story, you’ve got to take these risks,” said Arabela Dorman, who has spent five years embedded with British soldiers in Afghanistan. [Guardian]

— French street artist JR set up a haunting installation in Ellis Island’s abandoned hospital. [ArtDaily]

— A study shows that art school degrees may actually be paying off. [PolicyMic]

— RIP Susan Sollins, founder and executive director of PBS’s ART 21 and juror for Detroit’s ArtPrize. [CBS]

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Comfortably Numb: Turner Prize Lacks Spirit of the Good (Bad) Old Days

Seldom-Seen Intellectual Sensualism: James Bishop at David Zwirner

artruby:

Robin Rhode at Lehmann Maupin.

VIDEO: Frieze London Highlights 2014

In Tune: See our 5 Songs To Round Out Your Week

via ARTINFO.COM

HAPPY FRIDAY!

Be cool like Bey and Jay at Frieze…

See our Instagrams of the Art World: Frieze London Frenzy Edition (Plus Beyonce at the Louvre)

Tim Noble Steps Out On His Own in London

With his wife and collaborator Sue Webster, Tim Noble is known for inventive sculptures that often cast unexpected shadows — like a contorted assemblage of banana-yellow penises that, on the wall, reads as a much more refined double silhouette of two faces. For Frieze Week, Noble is going solo, presenting a new sculpture that he made sans Webster at The Door (an always-open-to-the-public space described as “literally a doorway on Ingestre Place, Soho, which will rotate its exhibitions on a monthly basis”). The piece is called “Half Cast,” and it depicts a single human body composed of the top half of Webster and the bottom half of Noble. The figure’s head is obscured by a bag; the male-female hybrid wears a T-shirt emblazoned with the word S.C.U.M. (which is not an insult, but rather the name of a defunct London band that Webster and Noble have directed videos for).

Noble described his marital art-making practice as being “about two opposite forces working together. In many ways I needed steering in a certain direction, and so did Sue.” (He was quick to point out that the duo is still actively a duo, and that they have an exhibition of paintings on view this November at the Suzanne Geiss Company in New York.) Of “Half Cast” itself, Noble explained: “This is not so much a portrait of my wife… this is more an encounter, with something strangely familiar, a double dose with a twist. As the name suggests, it serves you up two halves of an inseparable relationship that have been torn apart and somehow stitched back together in a brief, suspended marriage to form a bastard child.”

Perhaps a Freudian might read something amiss in the sculpture — the aggressive invective of S.C.U.M., that paper bag — but Noble insists there’s nothing of the sort at play. “The paper bag on her head is on no way a malicious attack,” he clarified. “It references the American conceptual artist John Baldessari, who realized the power of covering the face, and of how the mind is disturbed by trying to fill in the missing bits.”

Noble is especially taken by The Door’s public, 24/7 access. “The fact that you can be walking through Soho any hour of the day or night and come across this piece makes it a very unique space,” he said. “I believe this is London’s smallest gallery — and behind The Door isThe Society Club: a bizarre, lawless bookshop, cocktail bar, and home to an assortment of five dogs.”

“Half Cast” will be on view at The Door in London from October 16 through November 18.

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