… the shiny might be a modern sublime, which is fully reflective, absolutely present, and returns the gaze. This feels like a new way to think about the non-objective object.
»Anish Kapoor. “Anish Kapoor in conversation with Heidi Reitmaier.” Tate Magazine, July 2007.
But most of the work he did on his own, just by putting himself in the right place and being smart, genial, attractive, and rich.
»Joan Acocella on Lincoln Kirstein. “Heroes and Hero Worship” in Twenty-Eight Artists and Two Saints : Essays. New York : Pantheon Books, 2007.
Kay Nielsen doing his Beardsley meets Erté thing. From In Powder and Crinoline : old fairy tales retold. By Arthur Quiller-Couch; illustrated by Kay Nielsen. [London] Hodder & Stoughton, 1912.
(Via Golden Age Comic Book Stories.)
To be a good critic, you have to make a new enemy every week and never run out of people to be your friend. In this country that’s L.A. or New York. Otherwise you’re going to moving a lot.
»Peter Schjeldahl, in Sarah Thornton’s Seven Days in the Art World.
Todd Grantham’s parody of Gottfried Helnwein’s Boulevard of Broken Dreams (itself a parody of Edward Hopper’s claustrophobic Nighthawks) replaces Humphrey Bogart, Marilyn Monroe, and James Dean, and Elvis Presley with Ed McMahon, Farrah Fawcett, Michael Jackson, and Billy Mays. Coincidentally–and maybe unsurprisingly, considering how Michael Jackson has swelled like some Borgesian aleph since his death, Helnwein had his own connection to the musician; his art appeared in the booklet accompanying Jackson’s History album. The picture on page 33 of the booklet, titled Das Lied (The Song) by Helnwein, depicts a child who is screaming, or shouting, or singing, or all three with Jackson’s lyrics from the song Scream. “Somebody please have mercy / ’cause I just can’t take it.”