(noun) nonchalant absurdity with a dash of embarrassment.

(verb) to be shark bitten.

(adverb) in a manner that is nonchalantly absurd and embarrassing.

03 February 2012

Cezanne's "Card Players" Sells for a Quarter Billion to Qatari Royal Family

With the set value only at $100 million dollars, Qatari royal family buys Cezanne's "Card Players" (1895) from the late Greek shipping magnate George Embiricos for $250 million dollars, setting a new record for a private deal.

More information via GALLERISTNY & ARTINFO

JACK & JILL : Works by Aneta Bartos & Nick Weber : Curated by Anne Huntington

[PRESS RELEASE]AMH is pleased to present Aneta Bartos and Nick Weber in JACK & JILL curated by Anne Huntington to be on display at 144 10th Avenue (nr. 19th st) in Chelsea, NYC.

Bartos and Weber fluidly breathe haunting life into two-dimensional photographs and paintings, respectively, with such essence that the works bring forth a universal force. There is a duality of existence that is simultaneously light and dark; modern and nostalgic; erotic and romantic that invites the viewer into specific, yet open-ended worlds. Powerfully reflecting on the human psyche, childhood lessons learned, and acceptance granted or denied. The images arouse dangerous emotion with a fantastical dreamlike tone. We encounter humanity at its core, portals into ecstasy, challenging the viewer to experience various states of grace, to break through life’s defined states of sexuality in beautiful, disturbing and organic mediums. Bartos and Weber continue the figurative tradition, following the paths of Mapplethorpe and Bacon.

JACK & JILL references the boys and girls in us, as Bartos and Weber play the roles of artistic brother and sister. Instinctive parallels marry the works and blur the culturally formed lines ingrained in our visible and invisible worlds. The show delves into roles imbued in life’s mores and taboos through gender, gender bending, innocence and existence, linking to life’s complicated watered crown. JACK & JILL is the first time the artists are exhibiting together.

More Information: AMH INDUSTRIES

Nick Weber

Nick Weber

Aneta Bartos

Nick Weber

Nick Weber

Aneta Bartos

02 February 2012


[TEXT via NYTIMES]The graffiti artist who took Facebook stock instead of cash for painting the walls of the social network’s first headquarters made a smart bet. The shares owned by the artist, David Choe, are expected to be worth upward of $200 million when Facebook stock trades publicly later this year.

The social network company announced its $5 billion public offering Wednesday afternoon, which is expected to value the whole company at $75 billion to $100 billion. Ultimately, that offering will mint a lot of billionaires and millionaires.



Burn the Books

No longer can you judge a person by the books in their library.

Rirkrit Tiravanija: Free Food Poisoning @ the MoMA


What MoMA fails to tell you is that the free food that comes with participating in the Happening comes with free food poisoning! If you try to contact them to tell them of this (specifically referring to the food that was served on Thursday, January 26, 2012) they will tell you that a stomach flu is going around and they are terribly sorry! Enjoy!

[MUSEUM PANEL]Untitled (Free/Still) was first exhibited in 1992 at 303 Gallery, in SoHo. Rirkrit Tiravanija transferred the contents of the gallery's back office into the display space and outfitted and emptied office like a kitchen. There he cooked Thai curry and rice and served it to visitors for free. This communal and participatory hybrid of installation and Happening brought daily life into the pristine gallery space, heralding a new kind of art built on lessons of a previous generation of Conceptual artists. Untitled (Free), as it was initially titled, tested boundaries: in a space typically reserved for solitary contemplation of art, it offered a lively place in which viewers could eat and socialize. Twenty years after its first appearance, the work provides an informal, sociable experience, this time in an institutional environment.

Tiravanija has developed two scenarios for the exhibition of Untitled (Free/Still), allowing the Museum to show the work in an active state, in which curry is served, and in a passive state, in which docents describe the work following a script prepared by the artists. Curry is served every day from noon to 3:00 PM; on Fridays it is served from 4:00 to 7:00 PM (Free MoMA clusterfuck)!

Image via MoMA

31 January 2012


"That looks like a beach ball. Beach balls are very colorful."


New Museum's Massimiliano Gioni Will Curate the 2013 Venice Biennale

Text & Image via ARTINFO
Massimiliano Gioni, associate director and star curator at New York's New Museum, has been chosen to curate the 55th outing of the Venice Biennale, the global art world's most important and prestigious event. The announcement was made today by the Biennale's board of directors.

The 37-year-old Gioni was promoted to associate director of the New Museum in 2010 after an impressive run organizing or helping to organize exhibitions such as the "Younger than Jesus" triennial and Urs Fischer's "Marguerite de Ponty," as well as the more personal "After Nature," which brought together a variety of art stars and eccentrics to form an exhibition described as a "visual poem." There is no doubt he knows how to draw a crowd: Recently, he co-organized Carsten Höller's ultra-popular "Experience" exhibition, and has even found the time to team up with "retired" artist Maurizio Cattelan on a new pop-up gallery, opening at Anna Kustera Gallery in February.

Gioni is no stranger to biennials: He curated “10,000 Lives” for the 2010 Gwangju Biennale in South Korea, an exhibition that was both notably ambitious and widely praised. Nevertheless, as the most-scutinized of art events, Venice offers a special challenge. Assuming the role of Venice Biennale curator involves being coronated art-world oracle, channeling two years’ worth of cultural zeitgeist into a single exhibition that is sure to draw fire from all sides. Parkett editor Bice Curiger organized the 2011 biennale, which was deemed over-reaching and underwhelming by many critics.

If any contemporary curator is up for this job in 2013, however, it may be Gioni. As this Web site's executive editor Ben Davis wrote in 2010 of the South Korean exhibition, “Gioni’s Gwangju Biennale restores my faith, a little, that biennials can be meaningful experiences. I can’t wait to see what he does in Venice.”

As for the other components of the Venice Biennale, Italian composer Ivan Fedele will act as director of the music sector, while Alex Rigola will continue in his post as director of theater and Ismael Ivo will lead dance.

30 January 2012

David Shrigley: Brain Activity @ Hayward Gallery

"Death" Image via Arrested Motion
DEATH: Shrigley’s work is animated by dark, deadpan humour and a sideways look at the human condition. Death, the most serious, sad and sometimes feared subject also receives the artist’s lightness of touch. Taxidermy animals appear to spring to life, while other works suggest the end is near.

Shrigley says ‘The big themes are the ones that interest me, and the ones that have the potential to be the most comic.’

MISERY: Shrigley’s art can evoke disquietude and unease as well as hilarity. It takes special delight in the dismal realities of life – teeth riddled with decay, thwarted promises of urban renewal, and other human failings. Deciding whether or not to laugh at these darkly humorous artworks often presents something of a dilemma, which Shrigley refers to as a ‘moral conundrum’.

CHARACTERS: Shrigley’s cast of characters includes freaks, lowlifes, misfits, socially awkward people and mysterious creatures. ‘Almost all of my characters are interchangeable,’ he says. ‘They could be me, they could be you, they could be anybody.’

Some are immediately recognizable as stereotypes, while others are conjured up from the artist’s imagination, ranging from talking vegetables to happy-faced teeth. The awkward encounters faced by his characters are immediately recognisable, drawn from common interpersonal relationships and social mores.

MISSHAPEN THINGS: Closely related to his drawings and photographs, Shrigley’s sculptures are cartoon-like creations that often include exaggerations of scale or function. These works also involve a variety of crafting techniques such as moulding, casting and welding. However, the finished objects look as if they have been produced by an amateur. Shrigley intends this imperfect aesthetic to give his objects a sense of personality, albeit an eccentric one.

"Misery" Image via Hawyward Gallery

"Characters" Image via Hayward Gallery 

"Misshapen Things" Image via Hayward Gallery