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Who Owns the Art World? an Online Panel Discussion with Hayley Newman, Morgan Quaintance and Richard Parry. This Short Panel
A DACS panel discussion, 14 March 2018 Who Owns the Art World? An online panel discussion with Hayley Newman, Morgan Quaintance and Richard Parry. This short panel debate took place during DACS’ Annual Strategy Day, as we thought about the context in which artists are currently working and how best DACS could best support artists and artists’ estates in the future. The Panel Mark Waugh (Chair) is the Business Development Director at DACS. Hayley Newman, Artist and Reader of Fine Art, Slade School of Fine Art, UCL. Morgan Quaintance, writer, musician, broadcaster and curator. Richard Parry, Artist. Mark Waugh (MW): Welcome, and we’re live again at DACS, this time from RIBA, and we’re live with a specific question, it’s quite a simple question – “Who Owns the Art World?” And to answer that, what we’re going to have three presentations, one from Richard Parry, one from Hayley Newman and one from Morgan Quaintance. They come from very particular positions and I think you’ll be able to understand what those positions are after the presentations. Essentially, all three of them share a discourtesy of concern with that question of ownership - and not only the ownership of the art world in a conceptual and a material sense - but also in what the role and agency of the artist is, and indeed, art is, in that context. And we’re asking that in the context of DACS as an organisation which has a 30-year history of thinking about what artists can do to empower themselves and support each other. -
My Article in the Last Issue of Finch's Quarterly About the Royal Academy's Summer Exhibition Achieved a Very Modest Degree
Hungary for Culture Charles Saumarez Smith takes issue with the line of Brian (Sewell) and looks forward to the Royal Academy’s Treasures from Budapest exhibition My article in the last issue of Finch’s Quarterly about the Royal Academy’s Summer Exhibition achieved a modest degree of fame by being quoted in Brian Sewell’s review of this year’s exhibition in the Evening Standard: As its chief executive put it in the current edition of a journal of which he is arts editor, the Academy holds “the 18th-century view that the best judges of art are not the critics but the public. Critics may sneer, but the public continues to enjoy the Summer Exhibition precisely because it gives them an opportunity to make up their own minds about what to like.” Sewell went on to say: The public can make up its mind about fish and chips and jellied eels, but to put it in charge of the kitchens of The Ritz would not be wise. And I am less sure that Charles Saumarez Smith’s contempt for critics was widely held anywhere in Europe in the 18th century, the Age of Reason, when the Enlightenment held sway; and even if it were, then the public to which he refers was not the ancestor of some bloke on the Clapham bendy-bus, but an educated gentleman with the benefits of private tutoring, Eton, Oxbridge and the Grand Tour, as ready with a Greek or Latin tag as our beloved Boris Johnson. The chief executive will find little of that background among the old biddies from Berkshire up for the day. -
Conrad Shawcross
CONRAD SHAWCROSS Born 1977 in London, UK Lives and works in London, UK Education 2001 MFA, Slade School of Art, University College, London, UK 1999 BA (Hons), Fine Art, Ruskin School of Art, Oxford, UK 1996 Foundation, Chelsea School of Art, London, UK Permanent Commissions 2022 Manifold 5:4, Crossrail Art Programme, Liverpool Street station, Elizabeth line, London, UK 2020 Schism Pavilion, Château la Coste, Le Puy-Sainte-Réparade, France Pioneering Places, Ramsgate Royal Harbour, Ramsgate, UK 2019 Bicameral, Chelsea Barracks, curated by Futurecity, London, UK 2018 Exploded Paradigm, Comcast Technology Centre, Philadelphia, USA 2017 Beijing Canopy, Guo Rui Square, Beijing, China 2016 The Optic Cloak, The Energy Centre Greenwich Peninsula, curated by Futurecity, London, UK Paradigm, Francis Crick Institute, curated by Artwise, London, UK 2015 Three Perpetual Chords, Dulwich Park, curated and managed by the Contemporary Art Society for Southwark Council, London, UK 2012 Canopy Study, 123 Victoria Street, London, UK 2010 Fraction (9:8), Sadler Building, Oxford Science Park, curated and managed by Modus Operandi, Oxford, UK 2009 Axiom (Tower), Ministry of Justice, London, UK 2007 Space Trumpet, Unilever House, London, UK Solo Exhibitions 2020 Conrad Shawcross, an extended reality (XR) exhibition on Vortic Collect, Victoria Miro, London, UK Escalations, Château la Coste, Le Puy-Sainte-Réparade, France Celebrating 800 years of Spirit and Endeavour, Salisbury Cathedral, Salisbury, -
REVISED 4/27/2013 VERTIGINOUS ACEDIE, CIRCA 2013 the Preternatural Beauty and Equipoise of the Post-War Alexander Calder Mobiles
REVISED 4/27/2013 VERTIGINOUS ACEDIE, CIRCA 2013 The preternatural beauty and equipoise of the post-war Alexander Calder mobiles at Pace Gallery, Burlington Gardens, London, are more than offset/countered by the vertiginous acedie of the exhibition at the Saatchi Gallery, Sloan Square, London, entitled “Gaiety is the Most Outstanding Feature of the Soviet Union: New Art from Russia.” Foremost in the latter instance is the series “The Neighbors” by Vikenti Nilin (born 1971). This series of ten images, all black-and-white giclée prints of the exact same size (165 x 110 cm.), is absolutely stunning – and chilling. Image (left) – Vikenti Nilin, “The Neighbors,” Saatchi Gallery, Sloan Square, London One needs to walk the length of Green Park, Hyde Park, and Kensington Gardens to properly prepare oneself for Calder (“Calder After the War”) versus the new Russian photography at Saatchi. (In preparation, one could even stop at the Natural History Museum in Knightsbridge for “Genesis,” semi-objective documentary photography by Sebastião Salgado, if crowds and entrance fees are acceptable.) The Calder mobiles are all installed on two floors in a classic, modernist white gallery at the north end of the Royal Academy, the whiteness of the spaces a tribute to the extreme austerities of the Calder mobiles and stabiles – the path to abstraction fully developed by 1945, the works shown covering the years 1945 to 1949. Curiously or not, Calder’s ascendance also coincides with the slow decline of the modernist avant-garde, which by 1927 was more or less over. This is a contentious issue, but it is more than borne out by the commoditization of modern art well underway by the mid- 1920s and the peculiar turn by Joan Miró into the repetition of his previously anarchic canon principally for the emergent modernist art market – a similar practice that beset Moholy-Nagy, Kandinsky, and others, primarily while in Germany. -
Press Release
FOR IMMEDIATE RELEASE CONTACT : LOCKS GALLERY 215.629.1000 / 215.629.3868 fax [email protected] Thomas Chimes On Alfred Jarry June 18–July 16, 2010 Gallery Hours: Tuesda y–Saturday, 10a m–6pm Summer Hours (July-August): Monday –Friday, 10a m–6pm Concerning Bosse de nage cynocephalus, 1990, oil on wood, 36 x 39 7/8 inches June 2010, Philadelphia, PA – Locks Gallery is pleased to present an exhibition of paint - ings by Thomas Chimes. Thomas Chimes: On Alfred Jarry, will be on view at Locks Gallery from June 18 through July 16th, 2010. Alfred Jarry, the French poet and playwright, and originator of Pere Ubu was a frequent subject of Thomas Chimes’s paintings. Having discovered Jarry in the early 60s and sketched drawings of Ubu in 1966, Chimes’ first painted image of Alfred Jarry dates to 1973. This presentation of Chimes’ work focuses on both Jarry’s image and his writing as a subject for Chimes and includes paintings created between 1976 and 2002. As Michael Taylor noted in his 2007 retrospective of Chimes, of all his artistic forebears and influences, Jarry was the foremost, and Chimes continued to draw inspiration from his writing up through his last works. On view are several paintings from the 80s - profile views of Jarry, a series of “white por - traits” that became among the artist’s best known works; several of these paintings are borrowed from private collections for this display. With a career spanning over five decades, the work of Thomas Chimes is in the collec - tions of such museums as the Allentown Art Museum, Centre Pompidou National (over) 600 Washington Square South Philadelphia PA 19106 tel 215.629.1000 fax 215.629.3868 [email protected] www.locksgallery.com Museum of Modern Art, Paris, Corcoran Museum of Art, Delaware Art Museum, Museum of Contemporary Art, Los Angeles, Museum of Modern Art, National Gallery of Art, Washington, D.C., Pennsylvania Academy of the Fine Arts, Philadelphia Museum of Art, Phoenix Art Museum, Portland Art Museum, Smithsonian American Art Museum, Wadsworth Atheneum Art Museum and Yale University Art Gallery. -
FRANCIS BACON Dublin, Ireland, 1909- Madrid, Spain, 1992
FRANCIS BACON Dublin, Ireland, 1909- Madrid, Spain, 1992 Francis Bacon was born in Dublin but moved to London in 1925, where he lived and worked from then on. His figurative painting became famous for his grotesque portrayal of his subjects and its somber depiction of the human condition. He represented Britain in the Venice Biennale of 1956 together with artists Ben Nicholson and Lucian Freud, and is considered one of the most remarkable British artists of all time, although anecdotically he turned down a CBE in 1960. Though his work was not well received at first (and as a result he destroyed most of his earlier paintings), his fame started to grow from the 40s until he became one of the better known and most valued artists in the world. His art has been shown internationally in places such as Mexico City (1977), Madrid (1978), Tokio (1983) Moscow (1988) or Washington (1989), and the Tate Modern of London dedicated three retrospective exhibitions to his work (in 1977, 1985, and posthumously in 2008). During his life he was represented by the Hannover Gallery and the Malborough Fine Art Gallery, and nowadays we can find his pieces in museums and art galleries all around the world, for example at the Reina Sofía of Madrid, the Centre Pompidou of Paris, the MoMA of New York or the Tate Modern in London, and a number of them are part of private collections. SOLO EXHIBITIONS (SELECTION) 2016 Francis Bacon: Invisible Rooms, Tate Liverpool, UK 2015 Francis Bacon And The Masters, Sainsbury Centre for Visual Arts, Norwich, UK 2014 Francis Bacon -
THBT Social Disgust Is Legitimate Grounds for Restriction of Artistic Expression
Published on idebate.org (http://idebate.org) Home > THBT social disgust is legitimate grounds for restriction of artistic expression THBT social disgust is legitimate grounds for restriction of artistic expression The history of art is full of pieces which, at various points in time, have caused controversy, or sparked social disgust. The works most likely to provoke disgust are those that break taboos surrounding death, religion and sexual norms. Often, the debate around whether a piece is too ‘disgusting’ is interwoven with debate about whether that piece actually constitutes a work of art: people seem more willing to accept taboo-breaking pieces if they are within a clearly ‘artistic’ context (compare, for example, reactions to Michelangelo’s David with reactions to nudity elsewhere in society). As a consequence, the debate on the acceptability of shocking pieces has been tied up, at least in recent times, with the debate surrounding the acceptability of ‘conceptual art’ as art at all. Conceptual art1 is that which places an idea or concept (rather than visual effect) at the centre of the work. Marchel Duchamp is ordinarily considered to have begun the march towards acceptance of conceptual art, with his most famous piece, Fountain, a urinal signed with the pseudonym “R. Mutt”. It is popularly associated with the Turner Prize and the Young British Artists. This debate has a degree of scope with regards to the extent of the restriction of artistic expression that might be being considered here. Possible restrictions include: limiting display of some pieces of art to private collections only; withdrawing public funding (e.g. -
Death, Dots & Dollars
Department ART Death, Dots & Dollars The Physical Impossibility of Death in the Mind of Someone Living by JASON EDWARD KAUFMAN Have you heard the one about the artist who put a 13-foot tiger shark in a glass tank of formaldehyde? Of course you have, and you know it’s no joke. That pickled man-eater is one of the most recognized icons of contemporary culture, and the Damien Hirst turned himself into a pop culture man who created it more than two decades ago, British enfant terrible Damien Hirst, has become a bold-faced name and possibly the best-known artist alive. phenomenon, and along the way became the At 48, he may also be the richest. Three years ago, The Sunday Times pegged his assets at £235 million ($342 million), probably an underestimate for an artist world’s richest artist. who sells works for six figures apiece—some have approached $20 million—and whose production teams crank them out in quantity. w Photo: Ben Stansall/Getty Images 214 Winter 2012 Winter 2012 215 Some critics say he’s the new Warhol, but others label him a shock jock more interested in making headlines and money than meaningful art. The Evening Standard’s Brian Sewell gutted the shark, declaring it “no more interesting than a stuffed pike over a pub door,” and Time magazine’s Robert Hughes dubbed it “the world’s most over-rated marine organism.” But how’s this for return on investment? British advertising mogul Charles Saatchi paid £50,000 (approximately $80,000) for the shark in 1992 and in 2004 sold it to Connecticut hedge funder Steven Cohen for $12 million. -
BRIAN SEWELL, LESLIE WADDINGTON and ART of the NINETIES: the COLLECTORS THAT DEFINED LONDON's ART WORLD from the 1950S TO
PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE : 2 6 SEPTEMBER 2 0 1 6 BRIAN SEWELL, LESLIE WADDINGTON AND ART OF THE NINETIES : THE COLLECTORS THAT DEFINED LONDON’S ART WORLD FROM THE 1950s TO PRESENT DAY Top Row (L to R): Matthias Stomer, Brian Sewell and John Craxton, Middle Row (L to R): Leslie Waddington, Jean Dubuffet and Francis Picabia, Bottom Row (L to R): Douglas Gordon, Damien Hirst and Glenn Brown London – This autumn Christie’s will offer works from three private collections that trace the development and trajectory of the London art scene from the 1950s to present day. This begins with the collection of Brian Sewell, the Evening Standard’s late art critic, who was a Specialist in the Old Master Department at Christie’s in the 1950s and 60s, having graduated in Art History at the Courtauld Institute, and nurtured a keen appetite for Renaissance works that span the 1500s through to Modern British artists of the mid-20th century. He built up a distinctive collection and 248 lots will be offered on 27 September including paintings by the Flemish artist Matthias Stomer, works on paper by the likes of Daniele da Volterra and Joseph Anton Koch, and the British Modernism of Duncan Grant and Eliot Hodgkin. One of the most influential collectors that developed London’s tastes was Leslie Waddington, who arrived in the city in 1957 and went on to become one of the most prominent fine art dealers in modern times, introducing the art world to artists from Jean Dubuffet to Patrick Caulfield, bringing the British and European aesthetic to America for the first time, and American Abstract Expressionism to London. -
Museum Views Spring
museummuseumVIEWSVIEWS A quarterly newsletter for small and mid-sized art museums Spring 2007 CONTEMPORARY MUSEUM DESIGN by Scott J. Tilden The first American art museum building of architecture and art. Some was erected by painter Rembrandt Peale and ATTRACTING THE PUBLIC 465,552 people visited the new museum building in his father Charles Willson Peale in 1813. n 1943, José Luis Sert, Fernand Léger, and 2002, the year of its comple- Subsequently, Peale’s sons founded small I Sigfried Giedion spoke of the need for public tion. This compares to museums in Baltimore, New York City, and building design to move beyond simple func- approximately 165,000 visi- Utica. Spectacles and musical performances tional considerations. “The people want the tors in 1999 and 2000. These accompanied the exhibitions of art and natural buildings that represent their social and commu- figures are all the more impressive when com- history. P.T. Barnum purchased these museums nity life to give more than functional fulfill- pared to the population of Milwaukee, which is later and brought to them his unique style of ment. They want their aspirations for monumen- 597,000. showmanship. However, the major growth of tality, joy, pride, and excitement to be satisfied.” Of course, this rise in attendance was precise- American art museums awaited the end of the Few contemporary museums illustrate this ly the goal of the Milwaukee Art Museum 19th century. The Metropolitan Museum of Art concept of monumentality as well as the trustees. In fact, the broader goal of local busi- opened in 1872 and the Museum of Fine Arts in Milwaukee Art Museum, Santiago Calatrava’s nessmen and politicians was to use the building Boston and the Philadelphia Museum of Art, magnificent winged structure beside Lake to re-brand the museum and the city itself both in 1876. -
Invisible City: Philadelphia and the Vernacular Avant-Garde NOTES on the UNDERGROUND
INVISIBLE CITY Philadelphia and the Vernacular Avant-garde Invisible City: Philadelphia and the Vernacular Avant-garde NOTES ON THE UNDERGROUND 252 Sid Sachs 253 Invisible City: Philadelphia and the Vernacular Avant-garde Notes on the Underground Sid Sachs In the mid-twentieth century, Philadelphia was a publishing center, its populism epito- mized by Curtis Publishing Company’s The Saturday Evening Post and Ladies Home Journal and Walter Annenberg’s TV Guide and Seventeen. The everyday American worldview—the Norman Rockwell and N.C. Wyeth versions of America—originated from these publishers. These were not aristocratic visions but, rather, the iconography of popular culture (as defined by sociologist Herbert Gans).1 In addition to Annenberg’s Triangle Publications and Curtis, Philadelphia was home to J.B. Lippincott, smaller specialty publishers such as Chilton and Cypher Press, and many others.2 Over these years, Philadelphia culture produced artifacts variously affiliated with the Beat writers, pulp fiction, experimental poetry, popular music, and a proto-punk ethos. Indeed, Philadelphia encompassed many worlds, from the Ivy League University of Pennsylvania and its elite Quaker satellite schools to Philip Barry’s patrician Tracey Lords; it brooked an even darker proletarian underworld. David Lynch noticed this chthonic condition during his Pennsylvania Academy of the Fine Arts (PAFA) years in the late 1960s and Sun Ra decried the city, saying, “To save the planet, I had to go to the worst spot on Earth, and that was Philadelphia, which is death’s headquarters.”3 That sinister underbelly was best illustrated by David Goodis, an important pulp-fiction writer. -
Distributed Art Publishers Art Distributed Artbook Spring
artbook Spring SPRING 2014 NEW BOOKS ON ART & CULTURE & distributed art publishers artbook distributed art publishers 155 Sixth Avenue, nd Floor, New York, NY 10013 www.artbook.com Ray Johnson, from Not Nothing: Selected Writings by Ray Johnson 1954–1994, published by Siglio. See page 35. Featured releases 2 Journals 82 sprIng HIgHlIgHts 90 CATALOGUE EDITOR Thomas Evans photography 92 ART DIRECTION art 108 Stacy Wakefield group exhibitions 136 IMAGE PRODUCTION Ranya Asmar Writings 142 DATA PRODUCTION design 150 Alexa Forosty COPY WRITING Film 158 Jarrod Annis, Thomas Evans, Tyler Fields, Annabelle Maroney, Seamus Mullarkey architecture 159 PRINTING limited editions 168 Sonic Media Solutions, Inc. Front Cover Image speCIalty Books 170 5 7 Robert Heinecken, Recto/Verso #2, 1988. Silver dye bleach print, 8 ⁄8 x 7 ⁄8''. The Museum of Modern Art, New York. Mr. and Mrs. Clark Winter Fund. art 172 © 2013 The Robert Heinecken Trust. From Robert Heinecken: Object Matter, photography 196 published by The Museum of Modern Art, New York. See page 36. BaCk Cover Image Backlist Highlights 201 Ray Johnson © Ray Johnson Estate, courtesy Richard L. Feigen & Co. From Not Nothing: Selected Writings by Ray Johnson 1954–1994, published by Siglio. See page 35. Index 207 © Ray Johnson Estate, courtesy Richard L. Feigen & Co & Feigen L. Richard courtesy Estate, Johnson Ray © ShowTime:The50Most “a fascinating survey of InfluentialExhibitions ofContemporaryArt groundbreaking exhibitions from Edited and with text by Jens Hoffman. Conversation with Hans Ulrich Obrist, Massimiliano Gioni, Maria the 1980s through to now . the Lind, Jessica Morgan, Carolyn Christov-Bakargiev, Adriano Pedrosa, Mary Jane Jacob.