Tuesday, August 25, 2015

The Most Iconic...

The Most Iconic Artists of the 1990s

Aug 24th, 2015 11:45 pm

Andreas Gursky

99 cent, 1999

MOCA, Los Angeles

The final 10 years of the 20th century have been called the beginning of the end of history. As the Soviet Union fell and the nuclear dread of the Cold War faded (only to be replaced by the constant policing of terrorism), capitalist democracy propelled a decade of steady growth in America. Yet the preeminence of these opposing superpowers was also broken up in the ’90s by the process of globalization—the diffusion of business and culture across national boundaries. With the rise of cable television, mobile phones, and the World Wide Web, multiculturalism became the sign of the times. The art world, too, fragmented and decentered, embraced a rich array of disparate practices and movements.

As the digital age came into full swing, many artists responded by gravitating towards issues of tangible lived experience and identity. Politicized bodies, site-specific installations, and the position of art itself within global culture took center stage in the biennial exhibitions that grew in both number and stature across the world...

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with...

Immersive Installation

Identity Politics

Relational Aesthetics

Globalization & New Media

na Mona...

Fearless Artist Mona Hatoum Conquers the Pompidou with Four Decades of Work

Artsy Editorial

Aug 19th, 2015 9:34 pm

Mona Hatoum

Cellules, 2012-2013

"Mona Hatoum" at Centre Pompidou, Paris

Mona Hatoum herself greets visitors twice to her show at the Centre Pompidou. The first is an unsettling welcome: a still freezes on a gagged Hatoum, tugging at male hands that conceal her mouth. A female voice-over repeats, “So much I want to say,” the title of the 1983 video. The second salutation is text-based: the billboard, Over my Dead Body (1988–2002) is a dual attack, one on gender roles and the other, Hatoum tells me, “to remind people that there were still conventional wars everywhere.”

Mona Hatoum

Over My Dead Body, 1988-2002

"Mona Hatoum" at Centre Pompidou, Paris

This survey exhibition comes 21 years after Hatoum’s first at the same institution, when the Pompidou acquired several pieces by the Palestinian artist. That initial exhibition came about largely thanks to the eye of the museum’s curator, Christine Van Assche, who discovered Hatoum in the 1990s—some 15 years after she settled in London following the outbreak of civil war in her native Lebanon. “She was different. Her political engagement was interesting, especially as not a lot was known about art from that part of the world,” says Van Assche. In 1994, she commissioned Hatoum to create Corps étranger, “Mona’s portrait from the inside,” as she calls it. The work is an elaborate medical peek inside the artist’s body and was inspired by a fascination with surveillance. “Her work goes through all contemporary movements: performance, Minimalism, Surrealism, Conceptual art, and video,” says Van Assche. “Not many artists can do that.”

Mona Hatoum

Light Sentence, 1992

"Mona Hatoum" at Centre Pompidou, Paris

There is no overarching theme, concept, or chronology to the show, and overall, a handful of Hatoum’s seminal pieces are missing. Some were either on loan or refused to be loaned. According to Hatoum, the curator also angled the exhibition away from the sculptural side of her practice. Among the complete set of works by Hatoum from the Pompidou’s collection currently on view is the dizzying Light Sentence (1992) comprised of a single light bulb hanging between stacked wire mesh lockers.

Some of the preliminary highlights are the medieval, minimalist, and claustrophobic Cube (2006), and Present Tense (1996–2011). The latter is the first of perhaps too many maps in the show but is outstanding for its beaded outline of the 1993 Oslo Peace Agreement on 2,200 blocks of traditional Palestinian soap. (How very Carl Andre in its Minimalism and how poetic in its hopeful message that soap might wash away these borders of confinement.) Hatoum is loath to interpreting her work within the precincts of her background. Nonetheless, some pieces distinctly do so, such as the performances Under Siege (1982) and The Negotiating Table (1983).

The artist says she “resisted” presenting so many maps. Van Assche, on the other hand, was eager to present several because, “I want the public to see her as an international artist who cares about the world and not place her within one culture.” One show-stopping map whose location Hatoum visualized from the get-go is the grand and anxiety-inducing Map (clear) (2014) of clear glass marbles, an installation that takes up the largest space of the exhibition. “I knew I had to show it against the Paris skyline,” she says...

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no no's...

Art Presentation Pet Peeves

by Edie Everette on August 24, 2015

Objects of Desire

T Magazine | Books

Europa Editions’ Objects of Desire

By LIESL SCHILLINGERAUG. 20, 2015

How a small Italian press managed to turn works in translation into a form of social currency.

Europa Editions’ books have a visual identity that’s as distinct as their literary sensibility. Credit Marko Metzinger

Recently, something improbable happened in the literary world: Europa Editions — a small, Italian-born publisher — became, of all things, a coveted intellectual brand. We don’t like to think a book’s cover matters too much, yet the decade-old press has somehow become as much of a name as its authors. Readers have taken to Instagramming its titles to broadcast their cultural verve and savoir faire, and to displaying their book while out at a restaurant, perched on the edge of a table for all to admire...

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Marc Jacobs’s bull terrier spends a day at the office

http://www.nytimes.com/video/t-magazine/100000003860343/marc-jacobs-neville-dog.html?em_pos=large&emc=edit_tz_20150821&nl=t-magazine&nlid=66671639&playlistId=1194812905212&ref=headline

T Magazine

A Day in the Life | Neville Jacobs

By BARBARA ANASTACIO | Aug. 20, 2015 | 2:04

Marc Jacobs’s bull terrier spends a day at the office, where he goes on set with the stylist Carlyne Cerf de Dudzeele and works out with his French bulldog pal Charlie.

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A Day in the Life | Neville Jacobs

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A Day in the Life of Neville Jacobs

T spends a day with Marc Jacobs's dog Neville at the office, where he goes on set with the stylist Carlyne Cerf de Dudzeele and works out with his French bulldog pal Charlie.

Advisers for Collectors

Art & Design

Soaring Art Market Attracts a New Breed of Advisers for Collectors

By ROBIN POGREBIN and GRAHAM BOWLEY AUG. 22, 2015

Bernard Berenson, exemplar of the old-school art adviser. Credit David Lees/The LIFE Images Collection, via Getty Images

Amy Cappellazzo jolted New York’s art world recently when she left her powerful position as chairwoman of Christie’s postwar and contemporary department to become a private art adviser, quickly brokering sales like Christie’s $82 million sale of a Rothko painting this spring.

Tobias Meyer, the regal chief auctioneer of Sotheby’s auction house, also surprisingly stepped down from his podium less than two years ago to become an adviser.

Guy Bennett, once a top Christie’s expert, now counsels the Qatar Museums and its chairwoman, Sheikha al Mayassa bint Hamad bin Khalifa al-Thani.

For decades, art advisers were a small club of professionals who personally helped build collections for clients, using their scholarship and connoisseurship. Their role was to consult and offer expertise, rarely to make deals. Bernard Berenson, the Harvard-trained art historian, was a famed counsel to the collector Isabella Stewart Gardner.

“I’m not anxious to have you own braces of Rembrandts, like any vulgar millionaire,” he wrote to her in 1900.

Amy Cappellazzo, in her home in Manhattan, left her job as a top executive at Christie’s to become a private art adviser. Credit Piotr Redlinski for The New York Times

But the rapidly changing art market — characterized by soaring prices, high fees and a host of wealthy new buyers from Wall Street and abroad — has prompted scores of new players to jump into the pool, from young art-world arrivistes to former auction-house executives with an abundance of expertise and connections. “It’s the Wild West,” said Abigail Asher, who has been an adviser for 25 years. “It’s like being in a gold rush mining town. We have been the miners for years and a lot of people are just showing up now.”

Many of these advisers are changing the profession — aggressively pursuing trophy art, wielding greater power in negotiations and in some cases acting more like fast-moving dealers than high-minded consultants...

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Who Got China Right

The Opinion Pages | Op-Ed Columnist

The Man Who Got China Right

AUG. 25, 2015

Joe Nocera

In the fall of 2009, Jim Chanos began to ask questions about the Chinese economy. What sparked his curiosity was the realization that commodity producers had been largely unaffected by the financial crisis; indeed, they had recorded big profits even as other sectors found themselves reeling in the aftermath of the crisis.

When he looked into why, he discovered that the critical factor was China’s voracious appetite for commodities: The Chinese, who had largely sidestepped the financial crisis themselves, were buying 40 percent of all copper exports; 50 percent of the available iron ore; and eye-popping quantities of just about everything else. That insight soon led Chanos to make an audacious call: China was in the midst of an unsustainable credit bubble.

Perhaps you remember Jim Chanos. The founder of Kynikos Associates, a $3 billion hedge fund that specializes in short-selling...

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