Clippings from the salon floor, #8

Andrea Fraser, untitled, 2003Sexual aftermath Andrea Fraser quoted by STLtoday re reactions to the 2003 piece for which she slept with a collector for $20,000: “The project raised the level of expectations. ‘What will she do next? Kill herself?’ One artist asked me to bear his child as a work of art. I wondered whether I should retire.”

Warm hands, hot market Montreal’s Moderns dealer Robert Landau, cited in Bloomberg’s ImpMod auction reports: “This is a week where we can sit on our hands and buy nothing and watch as our inventory goes up $50 million in value.

Over-reaching auctionspeak #1 From’s post questioning the propriety of the Phillips de Pury catalog’s use of 9/11/2001 to promote a 1998 Eberhard Havekost painting: “Obviously, the destruction of The World Trade Center is going to factor into any encounter with a work of art which features the buildings… But rather than just make mention of the situation, Phillips is explicitly running with it, pumping up the importance of Havekost’s painting by torquing it into a kind of prophetic artifact.”

Wannabe dealer tip #1 Painter Dana Schutz, cited in The Boston Globe’s How did this guy become such an art world big shot? – a long profile of her dealer, Zach Feuer: “I thought dealers were terrifying people, and he seemed very open. He’s not the typical super-dealer type — he’s really down to earth, and he always pays on time.”

Roberta Smith, princemaker From the same Zach Feuer profile: “[Feuer recalls]’We didn’t sell much at first… I had trouble paying the rent for the first year and a half. The phone was always off for non-payment.’ Then in February 2002, New York Times critic Roberta Smith wrote a positive review of a two-person show of paintings by Holly Coulis and Schutz. The show sold out. ‘Three or four collectors called,’ says Feuer, ‘and it all snowballed from there.’”

Dunst vs Hirst Actress Kirstin Dunst’s take on Damien Hirst, via the Irish Examiner: “I was going to buy a print for  £35,000 (€51,000) – a copy, not the painting, of the butterflies. Then I found out he has a whole studio of people who do the work for him and it only costs about  £1,000 (€1,500) to make a butterfly thing. I think he’s a genius and a good actor[sic], but I don’t think he should charge as much money as he does.

Turner judge vs Frieze From the Independent’s Turner prize shortlist piece: “Mike Nelson’s nominated work, Mirror Infill, which appeared at last year’s Frieze Art Fair, was praised by [Turner judge Miranda] Sawyer as a powerful antidote to the ‘slick commercialism’ of that fair. ‘It is a commercial art fair which is awash with money, and there is Mike’s work, which was dark and grubby, and stank of the chemicals he used in the dark room.'” Frankly, this seems a little harsh toward Frieze – the fair commissioned that sublime piece, and it got him nominated, which I’m guessing is a first in the Turner annals. So, points to them.

Not so hot Hoxton? From Waldemar Januszczak’s takedown on London’s East End art scene: “The East End is finished – the whole Hoxton thing has been and gone….The art world’s real power-brokers, the big international collectors, never got the hang of going there. The demanding urban geography of it all, with those tiny galleries stuck away in unlikely places, was too much for them… It’s much easier to turn up in London once a year for the Frieze Art Fair and get it all done in one hit, under one roof.”

Banksy, quote machine: The Lauren Collins feature Banksy Was Here in The New Yorker, featured a plethora of quotes from the anonymous artist. Yes, yes, an Artworld Salon moratorium on Banksy is being strongly considered, but here’s a sampling anyway:
– “The art world is the biggest joke going. It’s a rest home for the overprivileged, the pretentious, and the weak.”
– “I don’t know how the art world gets away with it, it’s not like you hear songs on the radio that are just a mess of noise and then the d.j. says, ‘If you read the thesis that comes with this, it would make more sense.’ ”
– “A few days after the show in Los Angeles opened I was painting under a freeway downtown when a homeless guy ran over and said, ‘Hey—are you Binsky?’ I left the next day.”

Perjovschi gets Tubed Can’t make it to NYC to see Dan Perjovschi’s MoMA project in the shadow of Barnett Newman’s Broken Obelisk? Watch the YouTube video…

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