Jeremy Abelson: Did the campaign receive more attention because of the modifications made to it?
Doug Jaeger: Probably, but for what? I mean it received attention for being slashed up. In some circles that’s really cool, but, ya know my parents were like “we’re really disappointed in you.”
- HuffPo published an insightful story… Read More
We’ve been running into the “is it art?” question a lot recently. Sure — it’s been lingering unanswered since Marcel Duchamp plunked a urinal down at the Armory Show, but people seem especially bewildered this month. They handwringing started at the beginning of March when Jeremy Deller opened It Is What It Is, a series of conversations about the Iraq war that looked very unlike, say, a Renoir. Fair enough. We weren’t sure if it was art either. Then Tyler Green of Modern Art Notes asked if the collection of historically important photography at MoMA, which includes pictures of Abu Ghraib and Vietnam, could possibly be considered art. We were equally conflicted. Even the New Yorker wanted to know if the BMW Art Cars were art. Who knows — art or not we wouldn’t kick one out of our garage (if we had a garage to begin with).
In the spirit of the times, we wanted to know how many people can discern a Polaroid of drunk kids at a party from one of Dash Snow and his friends that debuted at the Saatchi Gallery. So play along with us. After the jump, let us know if you can tell which of the following images are intended to be art and which aren’t.
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The text panel prefacing The Problem Perspective, the first major U.S. retrospective of German artist Martin Kippenberger, opens with a quote from Aristotle: “everything in moderation.” It then continues with the following statement: “Martin Kippenberger never got this message.”
Curatorial assistance or not, it doesn’t take long to pick up on the Dionysian overtones of Kippenberger’s work. At the entrance to The Problem Perspective an oat-covered Ford Capri peeks out into the foyer (a nudge to Anselm Kiefer) and continuing through the exhibit, the viewer passes by drunken street lamps (which unlike sober ones weave in and out of walls) deprecating self-portraits, and a junkie’s forest populated by disco balls, wooden pills, and ominously headless birch trees.
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For institutions such as Art Basel (with Art Basel Miami Beach) or the Swiss Institute (with showrooms in both New York City and Paris), contemporary Swiss art is certainly not confined to national boundaries. Yet, Swiss galleries and museums very much give respect to their own artists, both with more established names and a new wave of young guns.
In Zurich, Galerie Eva Presenhuber represents local duo Peter Fischli and David Weiss, heavy hitters with a fantastic sense of humor that plays on the banality of objects taken out of context. Another big name in the Presenhuber stable is Ugo Rondinone, whose rainbow Hell, Yes! graces the New York’s New Museum, but is also known for bringing traces of melancholy to his work. Sylvie Fleury, with her chrome-plated Gucci shoes on display in the gallerist’s loft residence, also shines in this constellation; her works place women in positions of authority, drawing from the worlds of fashion, car racing, and even space travel. Bringing up the rear, young artist Valentin Carron is currently showing replicas of bas-relief sculptures representing traditional work activities — not without a touch of irony — at New York’s 303 Gallery.
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The past two days passed by like two hours. We arrived at Pier 94 for the contemporary wing of the Armory Show at 4 p.m. Wednesday, in advance of the opening. Before we could actually see much art we starting seeing out-of-towners, such as Beyeler Fondation director Sam Keller, who used to direct Art Basel and Art Basel Miami Beach.
We cruised the first few aisles, where galleries like Deitch Projects and Victoria Miro held court, while taking pictures of New York Magazine art critic Jerry Saltz, Swiss Institute director Gianni Jetzer, and others. We snagged artist Maurizio Catalan and New Museum curator Massimiliano Gioni for an amusing photo at Lombard-Freid Projects booth and then headed over to the VIP lounge for a coffee break.
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In one corner there’s Flavorpill’s friend Douglas Jaeger, head of The Happy Corp., who MoMA hired to design a massive subway ad campaign in Brooklyn. He thought it would be cool to unleash Poster Boy — a New York street artist/subway vandal known for slicing and manipulating ads — on the classic works. Well that, and he was also trying to head off something that he saw as inevitable.
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Justin Carter is a New York-based DJ, part-time scribe, and connoisseur of funky jams. Along with his co-conspirator Eamon Harkin, he produces New Release — a selection of handpicked event recommendations — and throws an eclectic weekly party called Mister Saturday Night. We tracked him down approximately 17 feet away from us in Flavorpill HQ, where Justin has taken up residence as he pulls together a stellar evening at the MoMA on March 4.
Says Justin, “It’s the opening night of the Armory show, which is a huge international art fair. The MoMA is throwing a party after the preview, with cocktails, a DJ set by Justin Miller from DFA, and a live performance by Gang Gang Dance. It’s gonna be nice.”
After the jump, Justin professes his love for New York City, shares his recipe for an epic throwdown, and introduces us to the real (fake) Mister Saturday Night.
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Today at Flavorpill we were excited to find out that Gang Gang Dance will still be playing our Armory Show afterparty at the MoMA, even after fire destroyed their gear. We nearly fell out of our seats laughing at this kittens video. We listened to TV On The Radio remix Nat King… Read More
The Academy Award for Documentary Short Subject is often the spoiler for many Oscar betting pools, and unlike Danny Boyle’s third-world fetishism meets syrupy love story shoe-in, the slumdog category of mini-docs serves up hardships in a much more terrifying and bleak package. The problem with bleak and terrifying packages is that nobody ever sees them. Usually. Over the weekend at MoMA’s Roy and Niuta Titus Theater, we joined a packed house of hardcore cinephiles eager for their chance to watch these heart-wrenching tales and pad their Oscar knowledge databases. And while it probably won’t help them edge the odds (don’t worry we’ll do that for you), everyone looked grateful to be sitting inside a comfortable museum and not out in the harsh worlds depicted by these films.
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