Category Archives: Review

Bob Dylan: Wtf?

Oh Bob, breakin’ my heart. I can forgive a lot of things, snagging from folk songs, appropriating other works…for the greater good of music (sometimes). But really? Copying copyright photographs and saying it was based on actual travels? Really. The proof is again, in the pictures.

Left: Dylan’s painting from “Asia Series;” Right: photograph by Dmitri Kessel taken for LIFE magazine

You’re a legend- there was no need to copy photos…you could have done ANYTHING on the canvas and Gagosian would have sold it. But no. We get these ripped off/ craptastic paintings that will still sell for more than I’ll ever be worth. I just have to say, what a disappointment, I mean I shouldn’t be- everyone plunders each other but this is just so damn blatant and bad, it’s ridiculous. It’s not like Dylan is making a masterpiece from the photos, he’s degraded great photos into boring, clumsy painting. Gagosian probably would not have even sneezed in the direction of these paintings if they’d been made by anyone else. While we’re on the subject of Gagosian, wtf to you too?! How could you miss this issue? Do you do any kind of background at all? According to Artinfo, earlier this year French Photographer Patrick Cariou sued and won against Richard Prince and Gagosian. Prince was accused of copying 41 of Carious’ photographs for his 2007 Gagosian show.

This raises an interesting question about appropriation and power in the art world right now. How far is too far when ‘appropriating’? With the plethora of internet sources and media influences how can you know if an idea is really yours anymore? Artists have been appropriating since the beginning, it’s just what happens- the more famous guy will hear something/ see something catchy and it will be attributed to him because he’s famous, no matter if someone came up with it first. But the interesting problem now with the internet is the availability of information, lines of influence and sources can become more visible (providing one knows where to start)- the internet also is a way for the underdog to get credit/ make their voice heard, at least in some way.

Some have said this is could be part of the art…something greater and more thought provoking could be going on. That Dylan could be exploring the concept of originality itself. Or the impact of celebrity on an audience’s interpretation. Doubtful. If it was part of the message then Gagosian would be spilling because they probably don’t want another copyright issue on their hands. In addition, the whole originality and appropriation game is an old hat anyway, from Duchamp’s Readymade Fountain (1917) to Sherrie Levine’s own Fountain (1991).

Will Gagosian go through with selling Dylan’s paintings? Yes. Will they still sell for a stupid amount of money? Yes. But hopefully this will make it harder for people to get away with blatant plagiarism, as well as get Gagosian to actually research the artists they are representing and maybe, just maybe, quit trying to make a quick buck off of marketing celebrity works.

P.S. Bob, stick to music.

An update to this issue can be found here. Artinfo’s Judith Dobrzynski reports that Dylan may have paid for the copyright licensing to some of the photographs he used in the Asia Series. Whether or not it was before or after the fact is not clear, however.


Cy Twombly: Sculpture Selections, 1948-1995- A Review

Recently I went over to the Art Institute of Chicago and was blown away by what they had to offer. In addition to the spectacular permanent collection, they have numerous special and ongoing exhibitions, one of which is Cy Twombly: Sculpture Selections, 1948-1995.

Edwin Parker “Cy” Twombly, Jr. (American, 1928-July 5, 2011) is mostly known as a painter, he is associated with the Neo-dadaism and hung out with titans like Robert Rauschenberg and Jasper Johns. In 1957, Twombly set up his studio in Rome. His recent death has propelled him onto the contemporary radar, but for most of his career Twombly was largely ignored in the United States (not the case in Europe, where he was quite successful).

Twombly’s  paintings are grandiose in scale, however, they feature scribble markings that are reminiscent of calligraphy and graffiti, the expressive mark of a signature on expansively empty canvas fields.

 

 

Above: Cy Twombly, The First Part of the Return from Parnassus, 1961. Oil paint, lead paint, wax crayon, colored pencil on canvas. 94 3/4 x 118 3/8 in. Photo courtesy of the Art Institute of Chicago, currently on view at the Art Institute of Chicago.

According the artist,“Each line is now the actual experience with its own innate history.It does not illustrate- it is the sensation of its own realization.” Twombly’s works are steeped in the Classical past of Rome and ancient Greece, mythologies and epic poetry.

So what about the sculpture?

As I walked into the exhibition room it was like walking into a sacred temple. Only the floor creaking broke the silence, well that and the security guard warning people to back off the sculptures. Each of the seven sculptures are made of rough wood and found materials, coated in plaster and painted white. Alternating stolid horizontal blocks with triumphant verticality the sculpture works echo the peaks and long strokes of script.

What’s great about these works is that you can’t tell what is from 1948 and what’s from 1995; the works are timeless, monumental like classical marble sculpture. They are evocative of things from life, but distinctly not. They are assemblages of found material, such as the three doorknobs protruding from a block, clustered together like a face. The works are personal talisman, many inscribed with the names of places or verses of poetry, simultaneously solemn and playful.

Above: Photo of the exhibition, courtesy of the Art Institute of Chicago

I overheard a guide lecturing a group of uninterested students say that normally these sculptures would have been cast in bronze, however the Art Institute was lucky enough have the plaster versions. I prefer these, although they are starkly white, the roughness of the found materials comes through the plaster, creating irresistible texture and shadow across its surface.

Favorite: One of the works resembles a stepped ziggurat-like structure. An enormous base connected to the piece sets the work at table-level, like a model building. Under the plaster and paint peaks hints of blue and red, graffiti-esque. Where the imagined “entrance” would be, a long nail pierces the flat rectangular shape. Paint drips cascade from this puncture, down along the base to the floor.

I’m so glad I had the opportunity to view this exhibit, unfortunately it was largely empty on my visit- I hope this is not the norm and that visitors take the time to explore these rare sculptures. What may be a problem for Twombly’s sculpture exhibit is its proximity to the Windows on the War: Soviet TASS Posters at Home and Abroad, 1941-1945, which is the highlight at the museum right now. Cy Twombly: Sculpture Selections is ongoing so there doesn’t seem to be a set end date (yay!).

Also at the Art Institute of Chicago (some of which will be reviewed in later posts)

Jitish Kallat: Public Notice 3 (Sept. 11, 2010- Sept. 11, 2011)

Windows on the War: Soviet TASS Posters at Home and Abroad, 1941-1945 (July 31- Oct. 23, 2011)

Avant-Garde Art in Everyday Life (June 11- Oct.9, 2011)

Belligerent Encounters: Graphic Chronicles of War and Revolution, 1500-1945 (July 31- Oct. 23, 2011)

Chagall’s America Windows (return of, that is…)

And for a full listing of exhibitions (there’s a ton) click here.

You can also read a bunch more about Cy Twombly by clicking here.