Damien Hirst’s 2005 work, Virgin (Exposed) reimagines Edgar Degas’s The Little Fourteen Year-Old Dancer as a pregnant specimen, while its title references the Virgin Mary and the Immaculate Conception.
Its garish colors recall the anatomical models and illustrations found in physicians’ offices. Partially flayed and cross-sectioned, the work also evokes historical anatomical female figures whose abdomens could be opened, often to prurient effect, to reveal reproductive organs. However, here there is no frisson of revelation and concealment, and instead the female interior is unsparingly exposed in the public space of a gallery.
Photographed in The Met Breuer (Now Closed) as Part of the 2018 Exhibit, Like Life: Sculpture, Color and The Body.
For true pop music devotees — and particularly for those who came of age in the ’70s and ’80s — 2016 delivered a year of The Day The Music Died-level emotional trauma on a monthly basis. Like some kind of Plague Upon the Rock Stars, 2016 wiped out an entire lifetimes’ worth of legends, including David Bowie in early January, then Keith Emerson in March, Prince in April, Leonard Cohen in November and, as the year’s final fuck you — on Christmas day no less — we lost George Michael.
George Michael’s death at age 53 was especially devastating to my close friend Geoffrey, for whom Michael was not only a favorite recording artist but also a creative inspiration and role model. In March, George Michael’s personal art collection will be sold by Christie’s Auction House in London, with all proceeds going towards continuance of Michael’s philanthropic work. But before the collection hits the block to be sold worldwide for millions of pounds, an exhibit of representative pieces is touring a few cities where Christie’s has offices, so that George Michael fans can experience the joy that Michael surely felt while living with these beautiful and moving works of fine contemporary art — many of which are by artists with whom Michael had personal relationships. Geoffrey recently relocated from Manhattan to Chicago, so when he asked me if I would attend the exhibit at Christie’s headquarters in Rockefeller Center, I said that I would. “Take Pictures of Everything,” he implored me, and I did. Sadly, out of the 200 pieces to be sold, the NYC leg of the exhibit only had twelve artworks on display. This is what I saw.
Handcuffs (2002) by Michael Craig-Martin is expected to sell for between 30,000 to 50,000 GBP (Great British Pounds). This is my favorite piece among the collection on exhibit in New York.
Portrait (2009) is a Bronze and California Redwood-based sculpture by Thomas Houseago. It is expected to fetch 40,000 to 60,000 GBP.
In The Park (1997) above left, and American Tan XXIV (2006-07), on the right, both by Gary Hume, are estimated to sell for 40,000 to 60,000GBP each
Incorruptible Crown (2006) is one of four works by Damien Hirst in this collection. The kaleidoscopic design is created from butterfly wings under glass. It is expected to sell for between 300,000 to 400,000 GBP.
The art is displayed in just two galleries, and in the second gallery there was a short video playing on a loop that tells you something about the collection and about who George Michael was as an artist and philanthropist. There were also quotes on the walls attributed to Michael, as well as a few quotes from various artists that he knew. It is in this room that I felt his spirit.
Photograph of Immaculate Heart-Sacred (2008) by Damien Hirst. The physical work is estimated to sell for between 120,000 and 180,000 GBP.
If you had any doubt that George Michael became rich beyond his wildest dreams, understand that there are three of Damien Hirst’sNatural History formaldehyde series works coming up for auction in London, which, owing to their potentially fragile nature, are represented in the exhibit only by photographs. The work pictured above is comprised of a pickled bull’s heart and dove wings skewered with a dagger and suspended in a glass vitrine of formaldehyde. I am sure that it will sell for much higher than the estimated price.
Photograph of The Incomplete Truth (2006) by Damien Hirst. Comprised of a Taxidermy Dove suspended in a vitrine of formaldehyde solution, the physical work is estimated to sell for between 1,000,000 and 1,500,000 GBP.
Photograph of San Sebastian, Exquisite Pain (2007) by Damien Hirst is the artist’s take on the Martyrdom of Saint Sebastian. Comprised of a Bullock (a young bull) pierced with arrows and suspended in a formaldehyde-filled vitrine, it is expected to fetch between 1,000,000 to 1,500,00 GBP.
Untitled (2008) oil painting by Cecily Brown, estimated to sell for between 350,000 to 550,000 GBP.
Tracey Emin’s Drunk to the Bottom of My Soul (2002) is a large-scale example of the artist’s celebrated appliquéd blankets, which transform traditional textile-based media into vehicles for raw, confessional poetry. This piece is estimated to sell for as high as 180,000 to 250,000 GBP.
Bridget Riley’sSongbird (1982) (striped painting above, left), among Michael’s favorite works which hung above the fireplace in one of his homes, has an estimated final sale price of 400,000 to 600,000 GBP. Rebecca Warren’s Untiled (2002) (above, right) is a bronze and gold-painted statue with an estimated final sale price of between 120,000 and 180,000 GBP.
Although the NYC exhibit is now closed, the George Michael Collection will make stops in Los Angeles (February 11th –16th) and Hong Kong (February 19th –22nd), before concluding with a special public view at Christie’s London headquarters (March 9th – 14th). These exhibits are free and open to the public, so if you live in one of these cities you can consult the Christie’s website for their location and hours.
Julian Stanczak, Early Brim, Silkscreen on Plastic, $4675. Harris Stanton Gallery, Cleveland. (All Photos By Gail)
The fall edition of the Affordable Art Fair is going on right now at the Metropolitan Pavilion in the Flatiron District. We made a run through during Wednesday night’s Private View and found these fun Pink Artworks that will give you an idea of what you can find to bring home with you at this vibrant, priced-to-own fair!
Moonlight By Arthit Pansuay, $3300. A Gallery, Hong Kong
Edie Nadelhaft, BLTC: I <3 U, $1400. Art Star Online.
Louise Marler, VokarcamERA – Pink on Aperture (Fuji C-Print Light Box), $1380. Bruce Lurie Gallery, Los Angeles.
Poodle By Ross Bonfanti, $1400. Rebecca Hossack Online.
Damien Hirst, Quisqualic Acid, $4550 (Signed and Numbered By the Artist). Manifold Editions, London, UK.
(Above and Below) Matthew Lapenta, Emoji Series, $7500 each. Axiom Gallery, Santa Monica, CA.
A Glittering Moment By Yu Na Kang, $730. Sia Gallery, NYC.
Melissa Tseng, Blushed (Encaustic on Panel), $760.
Victor Spinelli, Circus Circus $1, $2900. Emmanuel Fremin Gallery, NYC.
Pink Bike By Sergio Garcia. The Lawley Art Group, Dallas, TX.
Andy McKenzie, Candy. Bleach Box Gallery, London, UK.
The Affordable Art Fair Runs Through Sunday, October 2nd at the Metropolitan Pavilion, Located at 125 West 18th Street in Manhattan. More Information, such as Hours and Admission Charges, is available at This Link!
Although it wasn’t on my list for that day’s art crawl, I was drawn into the Andrea Rosen Gallery by a glimpse of one of Josiah McElheny’s“Paintings” as seen from the street. These works instantly reminded me of the hyper-realist Jewel Paintings of Damien Hirst, so I was fascinated right away. To better convey what these paintings are all about, I’ve borrowed some text taken from the exhibit’s official press release.
The smooth surface of McElheny’s works, each faced with a plane of glass, is something that one sees through, and beyond. Challenging a Modernist perspective that painting is defined by and bound to its surface, these paintings — constructions of wood, mirror, glass, paint and, in two instances, video projection — acknowledge a painting’s physical and imaginable space. Creating an image on, in and behind this material plane, the paintings alternation from “flat” to “deep”, when simply viewed from the front and then the side.
Five paintings structured after works by Kandinsky and Malevich — McElheny’s Crystalline Prism Painting I, II, III, IV, and VI — feature press-molded and polished glass prisms inset into a field of black, matte oil paint brushstrokes, visible behind or through a surface made of a sheet of museum glass. The geometry of each prism offers a visual portal into a landscape of refracted light. Two related photograms, Prism I and Prism II translate these prismatic shapes into two-dimensional black and white abstractions, where their strict geometry is transmuted into an organic latticework.
Prism Painting Detail
Within three large monochromatic works — Blue Prism Painting V, VI and VII — one sees arrangements of solid, cut and polished blue glass forms, each form creating an ellipse at its apex. Here, the surface of the painting is a plane of blue architectural glass; subtle tonal variations play out across a grid structure borrowed from Ad Reinhardt. The black exterior frame and the painting itself, in these works, are in essence one and the same (another nod to Reinhardt). Within, a mirrored interior naturally refracts light into the prismatic objects and also seems to extend the space of the room.
In a related work, McElheny’sWindow Painting I — which echoes an iconic painting by Ellsworth Kelly from 1949 — mirror and tinted grey glass create a mysterious space “beyond,” but here the cylindrical prismatic objects standing inside seem to depict something, perhaps bottles, smokestacks or skyscrapers.
I remember seeing these at Frieze earlier this year.
Across all these works, McElheny hopes to suggest the possibility of an expanded experience of viewing, a view of the images that exist within painting where the viewer’s own physical movement offers additional vistas, imaginary or not. In McElheny’s hands, mining the past lays the groundwork for a path forward, giving a glimpse not only into what could have been, but visions for what might be.
Paintings by Josiah McElheny will be on Exhibit Through October 24th, 2015 at Andrea Rosen Gallery, Located at 525 West 24th Street in the Chelsea Gallery District
If anticipating a visit to Nike Town is as exciting to you as a trip to Disneyland, then The Rise of Sneaker Culture, an exhibit exploring the history and evolution of the popular footwear, on now at the Brooklyn Museum, is your wet dream.
Not that the Brooklyn Museum doesn’t know how to do an exhibit of shoes, because did you see the Killer Heels exhibit? That shit was just out of control. So maybe my expectations were too high. Because the only things separating the Rise of Sneaker Culture exhibit from a trip to buy new trainers were prices on the shoes and sales people walking around in referee shirts asking what size you wear. Yawn City.
The again, maybe gazing at rows of sneakers that you can buy anywhere displayed inside of Plexiglas cases gives you a boner, in which case here’s a little bit of exhibit hype from the museum’s website. “From their modest origins in the mid-nineteenth century to high-end sneakers created in the past decade, sneakers have become a global obsession. The Rise of Sneaker Culture is the first exhibition to explore the complex social history and cultural significance of the footwear now worn by billions of people throughout the world. The exhibition, which includes approximately 150 pairs of sneakers, looks at the evolution of the sneaker from its beginnings to its current role as status symbol and urban icon.” Woo.
I think these are antique high tops.
Included are works from the archives of manufacturers such as Adidas, Converse, Nike, Puma, and Reebok as well as private collectors such as hip-hop legend Darryl “DMC” McDaniels, sneaker guru Bobbito Garcia, and Dee Wells of Obsessive Sneaker Disorder.
Converse X Damien Hirst Butterfly Print Sneaker (2010)
Also featured are sneakers by Prada and other major fashion design houses and designers, as well as those made in collaboration with artists including Damien Hirst and Shantell Martin. This was my favorite part of the exhibit, and if all of the shoes were like this small sampling of sneakers, I would have been over the moon. Check these out.
These Christian Louboutin Roller-Boats (2012) feature Louboutin’s signature red soles and gold pony-skin uppers, embellished with aggressive studs. I can’t even imagine how much they cost.
Reebok X Alife Court Victory Pump “Ball Out,” Hot Pink (2007)
Thank god I found a Pink Shoe to write about! Alife’s reimagining of Reebok’s famous tennis shoe, the Court Victory Pump, went on to become one of the most sought-after sneakers. True to its name, Ball Out, the upper is cleverly made using tennis-ball-like material. The original release of the Ball Out was yellow, followed by a number of other bold colorways, including this fuzzy, bright pink version. I would wear them.
Film footage, interactive media, photographic images, and design drawings contextualize the sneakers and explore the social history, technical innovations, fashion trends, and marketing campaigns that have shaped sneaker culture over the past two centuries.
While you’re at the museum, add significant value to your visit by checking out the Faile Exhibit, Savage/Sacred Young Minds, which is just insane.
The Rise of Sneaker Culture will be on Exhibit Through October 4th, 2015 at the Brooklyn Museum, Morris A. and Meyer Schapiro Wing, 5th Floor.
All Photos By Gail. Click on Any Image to Enlarge for Detail.
While not necessarily a household name, Mr. Brainwash is arguably one of the most commercially successful street artists alive, and certainly one whose art panders to the lowest common denominator, Hallmark-Greeting-Card-sensibilities of the general public. What his heavily appropriated artworks lack in originality, Brainwash makes up in Chutzpah and being backed by a team who are geniuses at marketing and selling his brand. Right now — for how long, who the fuck knows — you can explore a warehouse-sized exhibit of Brainwash’s Greatest Hits at a pop-up space on West 14th Street, directly under the High Line Park. Entitled Life is Beautiful, the exhibit is the French-born, LA-based artist’s follow-up to 2010’s all-encompassing exhibit/happening, Icons; which was up for most of that year, it seems. Was it worth the wait? You betcha.
It is easy to criticize Brainwash’sInstagram-Nation-mentality visual puns and platitudes, but it is hard not to fall in love with pieces as hilariously snarky as this depiction of Tiger Woods playing through on Andrew Wyeth’s Christina’s World that i saw on socialproof.xyz. Talk about taking the piss out of beloved cultural icons.
Norman Rockwell’s classic Americana portraiture also gets a liberal dose of the Brainwash Treatment, hybridizing these well-loved images with modern memes and technological gadgets.
If you are my age or older, you probably grew up with Rockwell’s art in your house. In a way, this generational mash-up gives Brainwash’s art an ideal cross-over accessibility, making it a fun exhibit to bring your parents to. In fact, I daresay there is something here for everybody.
Do you like Star Wars? There are Star Wars characters in this exhibit.
Look at all this stuff! It’s like Bansky’s attic blew up in your face.
Some of the art is disguised as stuff that you can sit on. Can you sit on this? Try it and find out.
This cabinet stuffed with vintage toys appealed to my collector/hoarder mentality.
If you look long enough, you’ll probably see something you used to own, before it was purchased for a nickel from the Goodwill, or scavenged from a landfill.
Maybe you remember the celebrity portraits created from meticulously pieced-together broken vinyl LPs that made up about 50% of the Icons exhibit. Well, they’re back for an encore appearance in Life is Beautiful. Some, like this ubiquitous image of Jimi Hendrix, now have psychedelic paint thrown onto the hair, for an updated effect.
Yeah, you remember these guys.
Is it artsy recreation of a Midcentury Living Room, or is it a comfy place to rest? Again, why not see what you can get away with?
Here, Brainwash offers a few redesign ideas for your kitchen.
Renaissance Caitlyn Jenner manages to be both topical and mind blowing simultaneously.
And of course the art is nothing if not hyper-self-referential.
Another rehash from Icons but, like an old friend, always fun to see again.
I wonder if Damien Hirst gets a cut of this one?
These stylized portraits of the cast of Seinfeld are probably my favorite pieces in the show.
This one made me nostalgic for the Cow Parade. If you don’t know what that was, you should Google it.
Thierry Guetta (AKA Mr. Brainwash).
I finally made in it to see the Life is Beautiful exhibit at 2:30 PM on a Friday, after three unsuccessful attempts; meeting a closed and locked door each of the previous times. So, if you feel lucky or have time to kill, why not see if your timing is right and you arrive on a day and time that someone with keys decides to open the door. Hours are not posted on Brainwash’s official website, nor can they be found anywhere on the storefront itself. So it is really a crap-shoot that can get old fast, depending on your tolerance for being jerked around.
Don’t forget to hashtag the shit out of your photos.
Brainwash Exhibit as seen from the Highline.
The exhibit has moved to much smaller space just a few storefronts east of its previous home, and is now a Pop Up “Store” with hours clearly posted on the doors, as seen in the photo below:
When we were invited to an art opening last week at Other Criteria, Damien Hirst’s high-end gift shop / gallery on Broome Street in Soho, the first thing I thought of was, why have I not been to Other Criteria during its entire first year of existence? Seriously, WTF have I been up to? I wish could tell you.
Other Criteria: Because You Like to Have Nice Things
Although one could spend a good amount of time browsing around and not touching every item displayed so seductively in the street level retail space, it turns out that Other Criteria has a basement gallery, and that’s where we found the provocative art of Mexican-American artist, Eduardo Sarabia. Let’s take a closer look.
Sarabia’s new exhibit is called Ballads and it consists of 3D paper dioramas inside wall-mounted glass vitrines, one large wall tapestry and several very large pieces of glazed pottery, all playing with themes related to Mexico’s dark underworld of drug trafficking and its related, widespread gang violence. Sex, drugs, guns and…parrots, yeah, it’s all there. Also there are some adorable little potted succulents included in the displays, which further enhance the feeling of authenticity. Because, Mexico!
This piece, which embraces the look and feel of traditional Mexican pottery, but with a little twist, is so great.
At the gallery, we ran into our friend, celebrity photographer and art expert Derek Storm, who is apparently friends with Sarabia, and he explained that the animals in these dioramas, whatever their Spanish name is, that is also a Mexican slang word for some kind of drug. So, imagine that Zebra, which is Cebra in Spanish, maybe that means Cocaine, or something. Or maybe he was joking around. Who knows, it’s a good story!
The tapestry seen in the background of the above photo, Amor Amor Amor is inspired by the “narcomantas,” which are crudely made coded messages hung on public areas in Mexico by gangs and drug cartels. Usually spray paint on a bed sheet type of thing. Sometimes the messages try to justify an event or even further explain an action of terror. Sometimes the cartels get blamed for something they didn’t do in the media and this is their platform to give their side of the story. Other times, they serve as simple warnings to rival gangs.
Emulating this style and aesthetic, Sarabia wanted to bring forward a positive message. Using the power of fascination with this phenomenon, the artist has been working with a tapestry studio to make these works. Each is made by hand and takes about 2 months to weave.
Eduardo Sarabia’s Ballads will be on Exhibit Through July 5th 2015 at Other Criteria, Located at 458 Broome Street, SoHo, New York, NY 10013. Hours are Monday – Saturday 11:00 AM -7:00 PM, and Sunday 12 Noon – 6:00 PM.