This random assortment of 10 web clippings is much more than normal. Not sure why. Maybe the artworld is heating up again after the lull that followed February’s fairs?
Plagiarized Pottery, I: After a Grayson Perry piece up for auction at Christies London was revealed to be a forgery, the cross-dressing, Turner Prize-winning potter/quotemachine commented in his regular Times of London column: “I thought maybe I had made it and blanked it from my memory. Then I realised that it was too well made for an early work of mine… My early works are lively but technically inept.”
Plagiarized Pottery, II: From the Times of London article on the forged crockery (via ArtsJournal): “Christie’s said in a statement that it devoted ‘considerable resources to investigating the provenance of all objects we offer for sale’. This did not extend to approaching Perry or his gallery, the Victoria Miro in East London.” Ouch.
Art Market Maxims, I: Chelsea gallerist Ed Winkleman’s Easter present to artists? Advice on getting a gallery. The whole thing is well worth reading, not least for the tough-love notes like: “Never, never, never, never, never…walk into a gallery with your actual artwork in tow. Let me repeat that: NEVER. Regardless of how convinced you are that if the dealer could only see it in person, they’d immediately offer you representation, this approach smacks of desperation.”
Art Market Maxims, II: From the blog Art Market Insider’s article Ban New Art From the Big Auctions?: “Gagosian director Bob Monk once told me, when comparing the current bubble (his word) to the boom and bust of the 1980s art market, ‘It’s like a game of hot potato, and you don’t want to be the schnook holding the damn thing when the game is over.'”
Domino-Effect Crash: From the Christies press release announcing it was selling Andy Warhol’s Green Car Crash, 1963 Estimated $25–35M (and likely to score twice that): “This sale is bound to set a new price structure for the artist.” Which roughly translates to, “You better buy this exceptional Warhol, because after we sell it, all the other ones are going to cost you twice as much anyway.“
History Crash Course: Referencing that Warhol sale, Tom Flynn of ArtKnows recalls the Disastrous past in Art Market Crash: “When offered one of the car crash pictures [as they first appeared in 1963-64], the English collector David Dalton politely declined, apparently recoiling at the prospect of having to stare at an image of a crash victim hanging on his wall, while Elinor Ward’s Stable Gallery also refused to exhibit them. Victor Bockris, in his biography of Warhol, quotes Andy’s friend John Giorno to the effect that ‘the car crashes don’t work because you can’t have them in your living-room.‘”
“American Idol”/”Pop Idol” curator?: The Independent teamed up with Saatchi to launch Art competition: Build your dream collection, of five pieces (WTF, 5 pieces=a collection?) from Your Gallery’s 25,000 artists, and the winner gets £3,000 to buy art from the site. An optimistic thought: “In the light of the online shopping boom and MySpace phenomenon, it must only be a matter of time before the artist equivalent of the Arctic Monkeys is discovered.” Which was followed by a caveat curatore: “Just as Your Gallery does not take commission, it also does not exercise any quality control. The bewildering choice of works ranges from traditional watercolour landscapes to a video in which an artist kills insects with homemade weapons.”
Beijing for Beginners: A clipping from Ian Charles Stewart… “Nice NYT piece highlighting the new spaces at CaoChangDi, in Beijing. Though here it perhaps makes the location sound a little more exotic and hard-to-get-to than is the case: ‘Besides being remote (at least a 30-minute drive from central Beijing), Caochangdi’s mazelike warrens make it easy to get lost. And addresses are basically useless.’ In fact, CaoChangDi is around the corner from 798, the über trendy cafe gallery area, and alongside the JiChang expressway about halfway between the airport and town. CaoChangDi might have been on the outskirts of Beijing ten years ago, but now it is clearly part of the urban sprawl, and easy to find.”
Hirst vs. Neighbors From The Guardian’s Neighbours rail against artist’s plan to truck in dead animals (via ArtsJournal) re Damien Hirst’s projected “abattoir rail” at one of his studios in the Cotswolds: “Vicky Radwell, a vegetarian whose home overlooks the studio, said: “Most people around here are quite horrified that there are going to be dead animals there. Dead animals in art is just outrageous. It’s not beautiful, is it?”
Yoko! Oh? Noooo… From the Grammar.police’s Yoko Ono, You’re on Notice via (Modern Kicks), describing Ono’s phrenological antics during an onstage interview with Hirshhorn Museum curator Kerry Brougher : “His first question to her was a real softball pitch—roughly, “Why do you work in so many media?” But before he’d phrased the question, she had crawled under the table and exited stage right. She came back with measuring tape and reported on the various ratios of Kerry Brougher (“His arm is longer than his head”).” And it only gets weirder after that.