The News Review:
- Australian Censorship Board Rules ‘Naked Kids’ Photo Exhibit…
- Museum and Gallery Listings
- Tibor de Nagy Gallery
- Readers gallery: Successful mushroom hunt
- Digital Vandalism at Shafrazi Gallery
- Art Review – ‘Framing a Century’ – At the Met 100 Years of…
Australian Censorship Board Rules ‘Naked Kids’ Photo Exhibit…
FOXNews – Jun 6, 2008
The PG photo — of a 13-year-old girl — was used on the cover of the invitation to the exhibit. It was believed to have caused the initial complaints that led to the police shutdown of the exhibit and investigation into possible obscenity charges against Henson. The image “creates a viewing impact that is mild and justified by context. and is not sexualized to any degree” the board found. Police did not immediately announce that they were closing their investigation and it was not clear Friday whether the ruling would lead to the reopening of the Henson exhibit at Roslyn Oxley9 Gallery… and is not sexualized to any degree” the board found. Police did not immediately announce that they were closing their investigation and it was not clear Friday whether the ruling would lead to the reopening of the Henson exhibit at Roslyn Oxley9 Gallery. The gallery referred questions to Henson’s publicist who was not immediately available for comment. Related Stories… and is not sexualized to any degree” the board found. Police did not immediately announce that they were closing their investigation and it was not clear Friday whether the ruling would lead to the reopening of the Henson exhibit at Roslyn Oxley9 Gallery. The gallery referred questions to Henson’s publicist who was not immediately available for comment. Related Stories.
Museum and Gallery Listings
New York Times – Jun 6, 2008
An enormous rag doll covered with whole cowhides conforms to the main festivalist-art formula: take a familiar form make it really big use unexpected material already charged with meaning. A Communist-era photograph is rendered enormous in incense ash on tall blocks of ash. Along with smaller photo-based works that ruin fantastic antique doors these pieces voice an all-too-common mantra: “I’m doing this because I can hire someone else to do it. ” Pace Wildenstein 534 West 25th Street (212) 929-7000 and 545 West 22nd Street (212) 989-4258 through July 25. (Smith)JESSICA JACKSON HUTCHINS: ‘THE EXPONENT OF EARTH (YOU MAKE ME.
Tibor de Nagy Gallery
New York Times – Jun 6, 2008
Jess’s paintings are physically as well as imaginatively idiosyncratic. Works from the ’50s include a brushy Bonnard-like painting of a mother and child walking in a bucolic landscape and a cartoonish erotically charged picture of two men confronting each other in a room. More technically refined paintings from the ’60s and later mix landscape photo-based imagery and mythic symbols. Most compelling of all are two 1964 works depicting scientific instruments colorfully rendered in paint-by-numbers style. The images resemble dictionary or textbook illustrations and they seem mystically significant. Extraordinarily thick puttylike paint also produces an unusual plasticity. These and other works from the same series are among the oddest and most original works of the post-World War II era.
Readers gallery: Successful mushroom hunt
mlive.com – Jun 6, 2008
“She’s been looking for years but never found one or saw one in the woods before this day” said Crissman who introduced his friend to the hunt. “Once she spotted the first one she found more than I did. To have your photo considered send it to. com or by mail to Outdoors Gallery Grand Rapids Press 155 Michigan NW Grand Rapids MI 49503. Electronic images must be.
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Digital Vandalism at Shafrazi Gallery
Village Voice – Jun 6, 2008
However Shafrazi did manage to parlay his notoriety into lucrative art-mongering for the Shah of Iran; after the ayatollahs made that untenable he peddled graffiti artists in Soho. Fast-forward to a recent show in Shafrazi’s Chelsea gallery which reprised such ’80s stablemates as Keith Haring and Kenny Scharf and then add an intervention by gallerist Gavin Brown artist Urs Fischer and a high-resolution camera and you get vandalism updated for our digital age. Brown and Fischer photographed Shafrazi’s exhibition of the graffiti gang in situ transformed the results into trompe l’oeil wallpaper replete with the shadows of frames and reflections in glass then pasted the images back up on the walls in the exact same positions as the original show. The topper is works by artists from other generations displayed over the hi-res knockoffs: A Malcolm Morley painting of crashing planes and ships hangs athwart a photo of one of Haring’s radiating cartoon canvases; an exuberant John Chamberlain sculpture fairly leaps from in front of the towering facsimile of a Donald Bachelor collage painting. Particularly striking is a gray untitled Francis Bacon portrait half obliterated by vertical brushstrokes which smolders like cremation ashes atop the digital remains of Scharf’s colorful gibbering biomorphs. Lily van der Stokker has painted flat acrylic waves and blubbery curves over the photographic wallpaper her confectionary blues and pinks adding a third layer of imagery; a fourth dimension appears when a guard stands next to his digitized doppelgänger… Fast-forward to a recent show in Shafrazi’s Chelsea gallery which reprised such ’80s stablemates as Keith Haring and Kenny Scharf and then add an intervention by gallerist Gavin Brown artist Urs Fischer and a high-resolution camera and you get vandalism updated for our digital age. Brown and Fischer photographed Shafrazi’s exhibition of the graffiti gang in situ transformed the results into trompe l’oeil wallpaper replete with the shadows of frames and reflections in glass then pasted the images back up on the walls in the exact same positions as the original show. The topper is works by artists from other generations displayed over the hi-res knockoffs: A Malcolm Morley painting of crashing planes and ships hangs athwart a photo of one of Haring’s radiating cartoon canvases; an exuberant John Chamberlain sculpture fairly leaps from in front of the towering facsimile of a Donald Bachelor collage painting. Particularly striking is a gray untitled Francis Bacon portrait half obliterated by vertical brushstrokes which smolders like cremation ashes atop the digital remains of Scharf’s colorful gibbering biomorphs. Lily van der Stokker has painted flat acrylic waves and blubbery curves over the photographic wallpaper her confectionary blues and pinks adding a third layer of imagery; a fourth dimension appears when a guard stands next to his digitized doppelgänger. So if you relish blithe provocations and peppy cynicism this fascinating show’s the ticket—too bad you missed the opening where two hot babes dressed as cops presented Shafrazi with a cake sporting Guernica icing. Tuesdays-Saturdays 10 a.
Art Review – ‘Framing a Century’ – At the Met 100 Years of…
New York Times – Jun 6, 2008
html” >Framing a Century In the second gallery Nadar’s often stark unforgiving portraits of Parisian men about town face the more idealized and mostly female subjects of Julia Margaret Cameron; they tend to be pale beauties too passive and too contemporary for comfort. This idealization reaches its height in her photo illustrations for Tennyson’s “ ‘Idylls of the King’ and Other Poems”; the example here is a well-acted costume-drama involving quite a bit of chain mail. And Nadar’s portrait of Eugène Pelletan a critic seems like a precursor of a Hollywood portrait of a handsome slightly dangerous leading man. In the gallery devoted to the work of Baldus Atget and the lesser-known Marville the beauty of Paris old new and in transition takes over. Marville captures old streets both before and during Baron Haussmann’s redesign as well as the relative calm and intimacy of a man lying on sun-dappled ground beneath a chestnut tree… html” >Framing a Century In the second gallery Nadar’s often stark unforgiving portraits of Parisian men about town face the more idealized and mostly female subjects of Julia Margaret Cameron; they tend to be pale beauties too passive and too contemporary for comfort. This idealization reaches its height in her photo illustrations for Tennyson’s “ ‘Idylls of the King’ and Other Poems”; the example here is a well-acted costume-drama involving quite a bit of chain mail. And Nadar’s portrait of Eugène Pelletan a critic seems like a precursor of a Hollywood portrait of a handsome slightly dangerous leading man. In the gallery devoted to the work of Baldus Atget and the lesser-known Marville the beauty of Paris old new and in transition takes over. Marville captures old streets both before and during Baron Haussmann’s redesign as well as the relative calm and intimacy of a man lying on sun-dappled ground beneath a chestnut tree. Outside the city Baldus records history-laden architecture and Lyon flooded in addition to rugged coastlines that are commensurate with Watkins.