Above: excerpt from Paul McCarthy’s ‘Bossy Burger’, 1991
Turns out Italian art writer and curator Francesco Bonami isn’t a big Ai Weiwei fan. The former Venice Biennale Curator and Flash Art Editor had this to say in a recent interview with Marina Cashdan for Artsy:
MC: Were there any pavilions or collateral events [in Venice] that you were surprised by, in a good or not good way?
FB: I hate Ai Weiwei. I think he should be put in jail for his art, and not for his dissidence … lukewarm dissidence, because a real dissident, you don’t hear about them any longer, you know? They just throw away the keys.
MC: And you don’t think he’s helping “real” dissidents?
FB: I don’t think he’s helped the real dissidents, and I think he exploits his dissidence in favor of promoting his art.
Read the full interview here.
For over 40 years Vivian Maier worked as a nanny, in New York and Chicago mostly. During that time she also took over 150,000 photographs; most of which remained undeveloped until her death in 2009. Sadly, Maier’s work has only come to public attention posthumously, when boxes of her negatives were discovered at a thrift auction house in Chicago by local historian John Maloof.
It’s a story that’s captured the imagination of street photography enthusiasts, and the public, and Maier’s currently the subject of two documentaries; one produced by the BBC, top, (if you’re in the UK you can watch the entire doc here) and the forthcoming film, Finding Vivian Maier, above, (funded by Kickstarter no less) and directed by Maloof himself.
No screening confirmations in these parts as of yet unfortunately, stay tuned…
This year’s Anne Landa Award for video and new media arts has been won by Angelica Mesiti for her widely exhibited work, Citizens Band. Mesiti was selected by Art Gallery of New South Wales Director Dr Michael Brand and Head of Australian Art Wayne Tunnicliffe, in consultation with the exhibition curator Charlotte Day, beating out fellow finalists Lauren Brincat, Alicia Frankovich, Laresa Kosloff, Kate Mitchell, James Newitt and Christian Thompson.
The Art Gallery of New South Wales has released a digital publication to accompany the exhibition (that runs until July 28th) that you can download here.
“There’s no cathartic process in painting. I only get pleasure while there’s a problem, and when I solve that problem I need to make another one”; so says Gary Hume, the subject of a major exhibition on now at the Tate. The show contains 24 paintings spanning the artist’s career, all flirting with abstraction and rendered in his seductive, signature high gloss finish. The exhibition runs until September 1st.
Paul McCarthy has revisited Walt Disney’s Snow White in WS, his new 8,800-square foot installation at the Park Avenue Armory in New York. Interspersed within a colossal artificial forest are a series of films featuring a cast of miscreants including Humpey the Dwarf, fornicator of chickens, and McCarthy himself as Walt – all behaving in a manner not suitable for kiddies. The whole thing was rolled in from LA on 85 trailers. You can check out the epic time lapse install above.
For more on Paul McCarthy and WS, LOL recommends this brill article by Randy Kennedy in the New York Times.
MOCAtv has produced a 3 part series on ‘The Art of Punk’. The first episode (above) explores of the art of Black Flag, focusing on their iconic four bar logo and associated gig memorabilia designed by artist Raymond Pettibon (who also happens to be Black Flag guitarist Greg Ginn’s brother). Installments on the Dead Kennedys and Crass to follow later this month.
Some Tauranga locals are up in arms over two images taken by NZ documentary photographer Fiona Clark in the early 1970s. Included in the current group exhibition Now and Then at Tauranga Art Gallery, the photographs were shot at a 1974 University of Auckland gay liberation dance and feature hand written ‘captions’ containing sexual references generated by the sitters. “This is not a good look for Tauranga” says resident Jocelyn Winwood, who is “disgusted that such exhibits can be viewed by the public” and has asked Bay of Plenty councillors to remove the works from exhibition.
The same images caused a stir when they were first exhibited in the seminal ‘Active Eye’ exhibition (New Zealand’s first survey of local contemporary photography) in 1975. Public outcry against Clark’s work was so strong that the show never opened at Auckland Art Gallery and the photographs were eventually removed from the touring component of the exhibition.
Nearly 40 years on there’s significant institutional support for Hall (she was the subject of a major exhibition, Go Girl, at Govett Brewster Art Gallery in 2002) and despite these renewed complaints, Tauranga Art Gallery is standing by the works. “We would not consider withdrawing any works as they are very much part of the exhibition” said Director Penelope Jackson. “Art often challenges us, both in good and bad ways. Given recent events with gay rights in New Zealand, the [Auckland University gay liberation] dance was part of our country’s history.”
It’s a shame that the same level of gallery support for ‘controversial’ work is lacking here in Melbourne, as the current Paul Yore furore attests. Rather than stand behind the work of the artist, Linden Centre for Contemporary Arts has simply closed its doors.