Last month, artist Yoshitomo Nara casually announced in Japanese over Twitter that two counterfeit paintings had been included in his ambitious publication Yoshitomo Nara Complete Works 1984–2010. "...I have been looking through my Catalogue Raisonné! ... drawing #203 and 204 are forgeries... sorry to tell you after they are already released," he said. The two-volume edition could have served as an encyclopedic reference to his entire oeuvre, had it not incorporated the forgeries.
"Art fairs are the new disco," writer Anthony Haden-Guest declared after a particularly raucous session of partying at Art Basel Miami Beach. This same sentiment comes to mind when going over our list of parties, exhibitions, satellite fairs, breakfasts, lunches and dinners, all occurring simultaneously over the five days that Art Basel occupies South Beach this year. But not to worry, we've pared down the list of must-sees, so you don't have to. Read More
In the mid-1980s, comedy, athletics and graphic design found their perfect combination in the posters of John and Tock Costacos. "For the Kids," a new exhibition curated by gallery director Fabienne Stephan and advisor Adam Shopkorn at Salon 94 Freemans considers appropriation—specifically the pop-comedic idiom of '80s Koons—part of their formula.
The brothers, who first opened a T-shirt and sports paraphernalia company, got their start in the early '80s producing posters with a cold call to the Seattle Seahawks convincing football star Kenny Easley to do their initial campaign. They then produced hundreds of images that went against the industry standard of the time, which was to show athletes in action sequences. Instead, these iconic pros were given humorous personas as larger than life "superheroes" and paired with amusing taglines.
A small painting of the earth hovers several feet above the 11 other works in Jules de Balincourt's sprawling Bushwick studio. Lopsided and imperfect it hangs heavy, touches of pastels contrast with dark voids to denote different countries. It has all the characteristics of the folk-art aesthetic the artist became known for in the early 2000s. The colors delineated for each landmass could represent the disparities that persist in spite of globalization, an issue on the painter's mind recently. More than anything, De Balincourt's globe is a signal that when viewing his second solo show, "Worlds Together, Worlds Apart," at Galerie Thaddaeus Ropac in Paris [through July 2], details belie ambitions.
True to the artist's style, the exhibition touches on a range of themes through abstract, pop, folk and figurative paintings. The latter is represented in When's My Home Leave (2011) a 10-foot-wide painting of a mysterious and raceless man in a tropical setting, looking ready to leave Iraq or Afghanistan. Alternately Untitled (Merging Kissers) (2011) is a Platonic meditation on love.
The voice on the other end of the line is as deep as any I've heard-fatherly, wise and authoritative: "Hello, this is Lawrence Weiner." I'm on the Bowery, listening to an audio recording by the artist as part of Art Production Fund's "After Hours: Murals on the Bowery." The project, which launches today in conjunction with the New Museum's four-day Festival of Ideas for the New City, comprises 18 site-specific murals painted on the roll-down security gates of businesses on the Bowery, running from Houston to Grand Street.
Mixed Media, 212 x 66 inches, Courtesy the artist.
Artist Kirstine Roepstorff was born and trained in Denmark, but lives and works in Berli