Monday, October 1, 2012
Is there any more famous footage of an artist at work than Hans Namuth’s film of Jackson Pollock? More than half a century after Pollock’s death, the “Jack the Dripper” label still sticks in the public’s imagination. But according to a recent piece by Robin Cembalest in Art News, greater attention is finally being paid to Pollock’s attempts at sculpture. What this reevaluation of the poster boy for Abstract Expressionism might mean remains to be seen, but is it possible that “Jack the Dripper” might also be “Jack the Chipper”? Please come over to Picture This at Big Think to read more of "Jackson Pollock’s Sculpture: Was “Jack theDripper” Also “Jack the Chipper”?"
[Image: Jackson Pollock. Untitled, 1930-33. Basalt. Private collection. Courtesy of Leila Heller Gallery.]
Friday, February 10, 2012
A new tour at the Museum of Modern Art in New York has many seeing red over “seeing” Reds in the collection. As reported in Art News, Artist Yevgeniy Fiks’ “performative tour” titled simply enough “Communist Tour of MoMA” begins with the current exhibition Diego Rivera: Murals for The Museum of Modern Art before spilling messily into the political leanings of other artists throughout the collection. Although the Soviet Union disappeared from maps and globes and Communism is presumed dead, Fiks’ digging up of old political skeletons (some buried more shallowly than others) raises the question of whether any value can come from such politicized art history. Is art history better unsaid than Red? Please come over to Picture This at Big Think to read more of "Is Art History Better Unsaid Than Red?"
[Image: Diego Rivera. Indian Warrior. 1931. Fresco on reinforced cement in a metal framework, 41 x 52 ½” (104.14 x 133.35 cm). Smith College Museum of Art, Northampton, Massachusetts. Purchased with the Winthrop Hillyer Fund SC 1934:8-1. © 2011 Banco de México Diego Rivera & Frida Kahlo Museums Trust, México, D.F./Artists Rights Society (ARS), New York.][Many thanks to the Museum of Modern Art, New York for providing me with the image above from the exhibition Diego Rivera: Murals for The Museum of Modern Art, which runs through May 14, 2012.]
Monday, February 7, 2011
The art collecting world remains as much about collecting name cache as it does about collecting art. Becoming a trusted dealer and banking on that brand name allows you to build your bank account. It’s that seemingly unbreakable circle of influence that makes the recent L’affaire Guy Wildenstein in Paris all the more scandalous and troubling for art collectors and art lovers. Wildenstein, an international dealer in Old Master and Impressionist art for decades, stands accused of stealing valuable art works from the estates of dead customers entrusted to his care. The French government seized a room full of works believed to have been seized unlawfully by Wildenstein. Mix in the fact that Wildenstein is a major contributor and “bon ami” of French President Nicolas Sarkozy and you have the makings of a major scandal of international proportions that leaves not just Wildenstein’s estate and his victims’ estates unsettled, but shakes the foundation of art dealing to its very core. Please come over to Picture This at Big Think to read more of "Estate Unsettlement."