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Blanco Calls Out Biesenbach, Picasso Stolen at Art Miami, and More
08/12/2014
Blanco Calls Out Biesenbach, Picasso Stolen at Art Miami, and More— Blanco Calls Out Biesenbach: At a Basel after-hours party for MoMA PS1, rapper and performance artist Mykki Blanco threw pieces of a Subway sandwich at Klaus Biesenbach, before getting up on a table to assert that the PS1 director “doesn’t like black people. He likes black culture,” reports Sarah Nicole Prickett for Artforum. Blanco added, “He wants to hug Mickalene Thomas, he wants to hug Kehinde Wiley. I am not your Mickalene Thomas.” Of course, as Prickett pointed out, Blanco’s “your” indictment extended even beyond Biesenbach; though protests against police brutality did take place in Miami, effectively shutting down a major highway, a piece posted anonymously on Hyperallergic by a woman who “works in a prominent art PR agency” confirmed that, at least from where she was sitting, the rage-inducing events of the past two weeks didn’t quite phase the art world. “When my co-workers don’t acknowledge Mike Brown and Eric Garner, that says to me that my life, and the lives of people who look like me, isn’t important,” she wrote. “Or at least, it’s not more important than Miley Cyrus’s latest ‘artwork.’” Biesenbach’s response Blanco, meanwhile? “That’s entertainment.” [Artforum, Hyperallergic, Artnet] — Picasso Stolen at Art Miami: Investigations are underway to recover a silver Picasso plate worth $85,000 that disappeared from the Art Miami booth of Amsterdam’s Leslie Smith Gallery on Friday. The piece, titled “Visage aux Mains,” wasn’t even the most valuable artwork in the booth, hanging just above a Picasso ceramic worth $365,000. In further theft news, just a few days later, a man in a suit and tie walked into Rome’s National Gallery of Modern Art during open hours, popped a €500,000 sculpture by Italian impressionist Medardo Rosso under his jacket, and walked out. [Miami Herald, Telegraph] — Basel Ridiculousness Round-Up: The first week of December in Miami contains plenty of notable sales and eye-catching artworks, but it’s also a locus for interrobang-inducing anecdotes — a place that hosts “the kind of party where Larry Gagosian hangs out with Wiz Khalifa”; where it’s considered news that Leonardo DiCaprio left an afterparty with 20 (yes, 20) women in tow; where a seven-year-old is encouraged to start his own art collection; and need we even mention the vagina phone charger? For a full picture of fair week ennui (we renounce the term “fairtigue”), read M.H. Miller “documenting my nervous breakdown” over at ARTnews. [NYO, Gawker, Art in America, ARTnews] — Greece Enraged Over Elgin Loan: Predictably, Greece was none too happy at news that a statue from the infamous Elgin Marbles would be loaned to Russia before England would consider returning them to their home country — though perhaps within the ire of Greek Prime Minister Antonis Samaris is some key to progress, as he pointed out that now “the last British dogma about immovability has ceased to exist.” [Guardian, BBC, LAT, WSJ] — Galapagos Art Space Decamps for Detroit: “A white-hot real estate market is burning through the affordable cultural habitat,” said Robert Elmes, executive director of the Brooklyn space, which has been open for almost 20 years. “And it’s no longer a crisis, it’s a conclusion.” [NYT] — Barbizet Plans Christie’s Restructuring: Bloomberg reports that Francois Pinault brought in new CEO Patricia Barbizet over the recently-exited Steven Murphy expressly to reevaluate the future direction of the company. [Bloomberg] — Burmese artist U Htein Lin explains the small upside of his time as a political prisoner, during which he produced (and successfully smuggled out) 300 paintings and sculptures: “I was completely cut off from art critics and an audience. I just did what I wanted. In the cell I found freedom. It was the most important time in my art career.” [NYT] — Clash bassist Paul Simonon is apparently a painter — and will have a show at the London ICA next month. [Independent] — RIP Wynn Chamberlain, painter, filmmaker, author, and New York downtown fixture. [NYT] ALSO ON ARTINFO VIDEO: 60 Works in 60 Seconds at NADA Miami Beach Love Thyself: Peter Marino Exhibition Inflates the Man and the Myth At Pinta, a Laid-Back Vibe Paired With Serious Art “Peter Pan Live!” Flies Without a Glitch But is No Ratings Bonanza Check our blog IN THE AIR for breaking news throughout the day. Published: December 8, 2014 Read full article here

Miami: Art Basel Miami Beach Selected Works Part 1
08/12/2014
Click here to view slideshow Jason Dodge at Franco Noero Haegue Yang at Greene Naftali Luigi Ghirri at Matthew Marks Pino Pascali at Magazzino Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

Miami: Bortolami at Art Basel Miami Beach
08/12/2014
Artists: Jutta Koether, Daniel Buren, Nicolás Guagnini Venue: Bortolami, Art Basel Miami Beach Date: December 4 – December 7, 2014 Click here to view slideshow Photos by Contemporary Art Daily Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

Masters of Time 2014 by DFS
08/12/2014
Language English Featured: 0Order: 0Author(s): Sonia Kolesnikov-JessopSub-Channels: Jewelry & WatchesShort Title : Masters of Time 2014 by DFS Read full article here

Tiancheng International Dec 7
08/12/2014
Language English Featured: 0Order: 0Author(s): Sonia Kolesnikov-JessopSub-Channels: Jewelry & WatchesShort Title : Tiancheng International Dec 7 Read full article here

Art Basel Miami Beach 2014 Public Sector Opening Night
08/12/2014
This year’s Public sector of Art Basel Miami Beach is entitled “Fieldwork”. The sector presents outdoor and site-specific installations and ... Read full article here

VIDEO: Judd Tully's Tour of Art Basel Miami Beach 2014
08/12/2014
VIDEO: Judd Tully's Tour of Art Basel Miami Beach 2014Art+Auction's editor at large explored the fair in search of a few extraordinary works. His finds included the beautiful/disturbing sculptural objects of Claire Morgan, in which nature meets humanity, at Karsten Greve Gallery; a wartime Wilfredo Lam painting in unsually good condition at Mary-Anne Martin Fine Art; and a menacing and portentous pre-war work by Picasso at Acquavella, on offer for $9.2 million. Published: December 7, 2014 Read full article here

Week in Review: December 7, 2014
07/12/2014
Welcome to Week in Review, our Sunday round-up of the last seven days of activity here at Contemporary Art Daily. Please subscribe to our RSS feed, follow us on Twitter, follow us on Tumblr, and become a fan on Facebook. We would like to extend a special thank you to our annual sponsors, NADA and Sotheby’s Institute […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

Group Show at Karma International
07/12/2014
Artists: Uri Aran, Ketuta Alexi-Meskhishvili, Simone Fattal, Emanuele Marcuccio, Carissa Rodriguez Venue: Karma International, Zurich Exhibition Title: I bought a hyacinth flower with lots of leaves, just to make me feel like spring Date: November 8 – December 13, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Video: Uri Aran, excerpt from Untitled, […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

Review: Valentin Carron at 303 Gallery
07/12/2014
NEW YORKValentin Carron303 Gallery // November 6–December 20 “Music is a S-S-Serious Thing” combines industrially-produced objects with a nuanced sensuality in an effort to draw fruitful connections among capitalism, the body, and multimedia approaches to painting. On the walls are paintings made with vinyl ink on PVC tarpaulin framed only with steel tubing, while the gallery floor is populated with belts cast in glass and carefully arranged on kitschy furniture. This odd collection brims with melancholic life. From the immobilized belts that serve as humorously fragile symbols of masculinity, to the tarpaulin that paradoxically ripples and flexes like skin, Carron’s work examines longstanding discourses of the body within painting and sculpture. In Belt on Rattan Basket (all works 2014), a belt slithers out of a basket like a snake, at once brushstroke and sculpture. The crosshatched texture of the basket stands in contrast with the smooth, painted belt. This produces a sensory disconnect reminiscent of Eva Hesse’s 1968 Accession, a steel cube interwoven with rubber tubes, or Meret Oppenheim’s 1936 Object (Le Déjeuner en fourrure), a teacup, saucer, and spoon covered in fur. Like Oppenheim and Hesse, Carron thrives on incongruous pairings; the rough interwoven material against the smooth skin of the belt engenders a tactile dissonance in the same vein as drinking from a hairy cup. Moreover, the belt is erotically charged, drenched in the possibility of loss and death. Where are the bodies to which these objects were meant to be affixed? One is reminded of Joseph Beuys’s frequent use of fat, a gruesome metonym of once-vibrant lives that have been reduced to a solidified, anonymous mass.           A similar operation can be found in Carron’s paintings on tarpaulin, which, because of the viscous, fast-drying nature of the toxic vinyl ink, retain the artist’s mark like a tattoo. Largely comprised of repurposed illustrations from books of the post-war years, these paintings marry the modern, industrial materials of steel-tube frames and tarpaulin with images that are self-consciously dated. Carron situates these historical conversations not on canvas, but rather on metallic contraptions that, as a result of their tube frames, insist on their separation from the gallery wall, begetting a feeling that these objects are in a state of becoming. They are neither transparent windows onto the world nor wholly abstract distillations of the world, two camps between which painting oscillates as a discipline. Carron condenses these themes into Cold Figure, in which patches of pigment in simple geometric shapes tentatively compose a silhouetted form. The work creates an entity that is in the process of decomposing and simultaneously reconstituting itself, echoing Carron’s investment in materials that suggest impermanence even as they fearlessly expose their fragility. A version of this article appears in the February 2015 issue of Modern Painters magazine.  Review: Valentin Carron at 303 GallerySelect Photo Gallery: Slideshow: Valentin Carron's "Music is a s-s-serious thing" at 303 GalleryPublished: December 7, 2014 Read full article here

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