No, wait a second. That historical invitation actually bore the name of Iris Clert, the infinitely forbearing Paris dealer, while the questing artist was Yves Klein, who confounded gallery-goers on an April evening in 1958 with the opening of his show “Le Vide”—The Void. Clert’s little gallery was utterly empty. Visitors imbibed blue cocktails, causing them to, well, void azure pee the following day. In the painting-dominated 1950s, just about any rebellio… Read More
Commercial movies have long been the foil and fodder for artists working with video and film. By comparison, few have found anything of interest in the history of painting.
It’s been more than half a century since Allan Kaprow proposed that the best thing to do with the legacy of Jackson Pollock was to jettison the painting part and hang on to the action. Performance—live, filmed, taped—has claimed a seat at the visual arts table pretty much ever since, while painting, undead, fitfully resurgent, has moved in and out of the conversation. During this half-century of an ascendant time-based art, but particularly in the last two decades, feature-length commercial films have been the foil and fodder for artists aspiring to displays … Read More
Life's but a walking shadow, a poor player that struts and frets his our upon the stage and then is heard no more: It is a tale told by an idiot, full of sound and fury signifying nothing. —Macbeth, Act V, Scene V
When the international arterati descend on London at mid-month for the Frieze Art Fair, some may nip over to Trafalgar Square to catch the final hours of One & Other, Antony Gormley’s project for the Fourth Plinth. Or they may have gotten their fill of the 100-day relay, thanks to round-the-clock online coverage. Of course, they could just decide to wait for Mike Figgis’s documentary, scheduled to air on Sky Arts television later in the fall. But we get ahead of our story.
Between July 6 and Oct. 14, 2,400 souls who r… Read More
Currently on view in the group show "Redux" at New York's Cristin Tierney Gallery (through Feb. 4) are two works by Joe Fig, both related to his 200