Tag Archives: sherrie Levine

THE LARRY CLARK COLLECTION

“Symbols are more meaningful than things themselves.”—  Jenny Holzer, from Truisms, in LARRY CLARK—WHITE TRASH

Larry Clark is one of the great New York collectors, and the walls of his Tribeca loft present an ever-changing gallery of the art he has bought, traded, been given by friends, or created himself over the last half century.

LARRY CLARK—WHITE TRASH, at Luring Augustine Bushwick, is an exhibition of artworks from Clark’s personal collection. In addition to the work below, participating artists include: Vito Acconci, Richard Artschwager, Donald Baechler, Max Blagg, Lisa Bowman, Chris Burden, Jeff Elrod, Leo Fitzpatrick, Robert Frank, Paul Gauguin, Robert Gober, Mark Gonzales, Martin Kippenberger, Sherrie Levine, Paul McCarthy, Bjarne Melgaard, Scott Myles, Méret Oppenheim, Jack Pierson, Jason Polan, Sigmar Polke, Christy Rupp, Philip Taaffe, Koichiro Takagi, Sally Webster, Sue Williams, Franz West, Brian Weil, David Wojnarowicz, and Christopher Wool.

LARRY CLARKWHITE TRASH, through June 18.

LUHRING AUGUSTINE BUSHWICK, 25 Knickerbocker Avenue, Brooklyn.

luhringaugustine.com/exhibitions/larry-clark9

 

i-d.vice.com/en_au/article/larry-clark-on-his-astoundingly-eccentric-personal-art-collection

 

Image credits (top to bottom): Joe Andoe, Spaniard in the Works, 2012, oil on canvas; Wade Guyton, Untitled, 2008, Xerox print; Mike Kelley, Blood and Soil (Potato Print), 1989, silkscreen in colors on a silk banner; Richard Prince, Untitled (Joke), 2013, ink jet on canvas; Wallace Berman, Untitled, 1967, verifax collage; Helmut Newton, Larry Clark, Cannes, 1995, photograph; Raymond Pettibon, No Title (They Ought To…), 1985, pen and ink on paper.

Larry Clark’s White Trash

Larry Clark’s White Trash

Marfa Girl: il regista del film Larry Clark fotografato da Helmut Newton

DOUGLAS CRIMP — BEFORE PICTURES

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“What I had hoped to do from the beginning was to complicate the narratives that we have about the art that was made in New York in the 1970s and about the political developments of the gay scene and public sexual culture in that period of time….The queer world and art world complicate each other, but also the anecdotal voice complicates the critical voice.” — Douglas Crimp, on BEFORE PICTURES*

Pictures—the exhibition Douglas Crimp curated at Artists Space in 1977—launched Robert Longo, Troy Brauntuch, Sherrie Levine, Jack Goldstein, and Philip Smith, and laid the groundwork for the 2009 Met survey The Pictures Generation.

As the managing editor of October from 1977 to 1989, Crimp edited a special issue on AIDS for the journal in 1987. He is the author of “Our Kind of Movie”: The Films of AndyWarhol (2012 ), and last year he published BEFORE PICTURES, a beautifully written, extensively illustrated memoir of his life as a New York art critic and man about town in the 1960s and 70s.

BEFORE PICTURES is a strange and shimmering chimera: Part memoir, part theory, it swerves and circles, often paragraph to paragraph, from anecdote to argument and back again, a graceful, unfussy waltz that sometimes seduces you into thinking that it’s ‘simply’ autobiography. But the writing is also a performance of the necessary entanglement between serious thought and its ‘decor’—an entanglement that fascinates Crimp, and that makes him such an exceptional protagonist.” — David Velasco**

 

DOUGLAS CRIMP—BEFORE PICTURES (Brooklyn: Dancing Foxes Press/Chicago: University of Chicago Press, 2016).

Available at Skylight Books in Los Feliz, and Book Soup in West Hollywood.

dfpress.us/projects

press.uchicago.edu/book

 

*Sarah Cowan, “Before Pictures: An Interview with Douglas Crimp,” The Paris Review, November 8, 2016:

theparisreview.org/interview-douglas-crimp

**David Velasco, “Douglas Crimp’s Before Pictures,” Artforum, March 2017.

Above: Douglas Crimp, circa 1971, at the Guggenheim in New York, photographer unknown. Image credit: Douglas CrimpBefore Pictures.

Below: Cover photo, Zoe Leonard, Downtown (for Douglas), 2016.

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ART BASEL MIAMI BEACH DAY 4: REFLECTIONS ON DEPARTURE

Paris, LA’s final day at Art Basel was spent perusing missed booths at the Miami Beach Convention Center’s main fair, and soaking up the last few rays of sunshine on the beach. There was perhaps no better way to bookend a whirlwind tour of art and culture on both sides of Biscayne Bay, stretching into late night and early morning parties.

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The Saturday and Sunday crowd was noticeably more casual than at Wednesday’s VIP preview, and a number of works had been replaced with others, having been bought off the wall by collectors earlier in the week. Still, a number of standouts remained. Katharina Fritsch’s bright orange Octopus drew viewers into Matthew Marks’s booth, where a stunning new Ellsworth Kelly aluminum wall sculpture was displayed near polyurethane objects by Fischli/Weiss and a photograph by Thomas Demand. Luhring Augustine displayed one of Rachel Whitread’s Untitled (Stories) sculptures, a cast of the negative space around books on a shelf, which the artist later used in her poetic Vienna Holocaust Memorial.

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Some works humorously reappeared, referenced by other artists. Doug Aitken’s Exit (Large), on display in Regen Projects’ booth, appeared in an Eric Fischl painting not far away. Jeff Koons’s Balloon Rabbit appeared suspended upside down from a totem pole in a Jason Rhodes sculpture, on display at David Zwirner’s Basel booth.

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Fergus McCaffrey presented a colorful survey of Jack Early works, particularly homoerotic paintings of crotch close-ups on children’s wallpaper, featuring cheerful hand-holding soldiers. A canary yellow phonograph in the center of the gallery played Early’s “Biography in 20 Minutes”, recounting how the artist chose the wallpaper for his first bedroom, further referencing his memories of queer childhood and early budding sexuality. Another arresting survey show was Alison Knowles’s The Boat Book, sponsored by James Fuentes of New York. A series of wooden frames painted and draped in silkscreens, prints, photographs and maritime diagrams, The Boat Book looks like an unfolded large-scale scrapbook, memorializing the artist’s fisherman brother.

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Urs Fischer’s Small Rain drew curious crowds to the Sadie Coles HQ, London booth. Nearby Galerie Buchholz’s booth featured a stunning mechanistic sculpture by newcomer Simon Denny, with the familiar Snapchat ghost logo embedded like a 3D phantom in a plastic cube atop a computer server. Artist Sean Raspet also drew crowds to Société gallery’s booth in the Nova section with a wall of plastic tanks filled with a manufactured green polyether substance.

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Hauser & Wirth exhibited an impressive new teardrop-shaped sculpture by Mark Bradford. Other fair favorites included Jose Dávila, whose marble and glass slabs precariously pitched outward on colorful red and orange straps were shown at a half dozen galleries from Latin America, Europe, and the United States. Sherrie Levine’s minimalist objects in glass cases were scattered all over the winding Basel booths.

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At the booth for famed editions workshop and gallery Gemini G.E.L., new works by Richard Serra, Julie Mehretu, and Sophie Calle were on display. Serra’s monochromatic black Rift series was partly inspired by rubbings of asphalt textures in the Gemini parking lot. Mehretu’s Myriads, Only By Dark, composed of many layers of finely colored inks and intricately textured gestures in black, took over a year to complete. Calle’s work, In Memory of Frank Gehry’s Flowers, featured a collage cut-out of dried flowers given to the artist by her friend, architect Frank Gehry, in honor of her exhibition openings, alongside photographs of the flowers when fresh and a vase of real roses designed by Gehry himself.

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Between 250 galleries at Art Basel alone, 10 independent art fairs, and countless events, parties, exhibition openings, performances, and lectures, it was truly impossible to see it all here in Miami this week. Some important lessons were learned: few people come to Miami Beach in early December to view artwork. Perusing the fairs is like speed-dating high culture–there simply isn’t time to stop and study. As the fashion and music industries have teamed up with Art Basel, many more have arrived just for the parties, and parties they find: many of them last late into the night and well past sunrise. And as Art Basel has grown, so has Miami, sprouting gleaming new residential skyscrapers (including the new Zaha Hadid 10 Museum Park) that crowd out the two-lane boulevards and classic white Art Deco hotels.

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If you plan on attending Art Basel Miami Beach next year, don’t forget to pack good walking shoes, your favorite hangover cure, and a well-planned schedule. With the right preparation, you won’t find a better way to spend the first days of winter.

PORTRAIT OF THE DAY: SHERRIE LEVINE

Sherrie Levine (born April 17, 1947 in Hazleton, Pennsylvania) is an American photographer and conceptual artist.

She studied at the University of Wisconsin, Madison (BA 1969, MFA 1973). Biographical information on Levine is limited, since she has refused to participate in ‘myth-making’ associated with art production. She first gained critical attention in the early 1980s, when she was associated with Cindy Sherman, Robert Longo, David Salle and others known as ‘Appropriationists’ for drawing on existing imagery from ‘high’ and ‘low’ culture. Her works have been interpreted as a commentary on the death of Modernism and its ideals, notions of artistic originality, the authenticity and autonomy of the art object and its status as a commodity. In Untitled (after Walker Evans) (10×8 photograph, 1981) Levine re-photographed a reproduction of a photograph by Evans. Such works articulated her fascination with the photographic process and its reproduction, while raising post-structuralist discourses on authorship, originality and history, from which they partly derive. Levine’s theoretical rigour was complemented by a delicate, timid, if not remote, handling of materials, adding a sensuous dimension to an otherwise academic pursuit.

 

False God, 2007, cast Bronze, courtesy the artist and Simon Lee, London.


After Walter Evans 4
, 1981, gelatin silver print, gift of the artist to the Met. © Sherrie Levine.

Levine is best known for the work shown in “After Walker Evans”, her 1980 solo exhibition at the Metro Pictures Gallery. The works consist of famous Walker Evans photographs, rephotographed by Levine out of an Evans exhibition catalog, and then presented as Levine’s artwork with no manipulation of the images. The Evans photographs—made famous by his book project Let Us Now Praise Famous Men, with writings by James Agee—are widely considered to be the quintessential photographic record of the rural American poor during the great depression. The Estate of Walker Evans saw it as copyright infringement, and acquired Levine’s works to prohibit their sale.

 


Skull
, 2001, cast bronze, courtesy the artist and Walker Art Center.

 
Khmer Torso, 
2010, cast bronze, courtesy the artist and Simon Lee, London.

 

Deploying a wide range of media including photography, painting, and bronze, Sherrie Levine’s work raises questions about art’s relationship to originality, authorship, and authenticity. Since the late 1970s, much of her practice has been posited as an explicit, secondary return to prior works by mostly male modern masters, notably in her early photographs including After Walker Evans (1981), for example, created by rephotographing a familiar picture by Walker Evans reproduced in an exhibition catalogue.


Black Mirror: 8
, 2004, mirrored glass, mahogany frame, courtesy the artist and Walker Art Center.

Discourse surrounding Levine’s practice has tended to focus on the problem of authorship and the subversion of the unique art object. Levine’s re-photography and her re-productions of Duchamp’s ready-mades have provided important critiques of artistic institutions and practices. But by 2011, appropriation itself has become so thoroughly appropriated that it is difficult to view Levine’s work as critical. Not only have the ideas put forth by appropriation been thoroughly diluted by time and repetition, the idea that appropriation subverts the author’s function was a questionable one from the start.


President Collage: 1
, 1979, cut-and-pasted printed paper on paper, the MoMA collection. © Sherrie Levine.

 

“I want to put a picture on top of a picture,” Levine says. “This makes for times when both disappear and other times when they’re both visible. That vibration is basically what the work’s about for me—that space in the middle where there’s no picture, but emptiness.”


Fountain (After Marcel Duchamp: A.P.), 1991, cast bronze, courtesy the artist and Walker Art Center.

 

It is impossible to remove the art historical aspect to Sherrie Levine’s art. She works within the space of art historical discourse and dialogue, in attempts to add new perspectives on art by actually appropriating and reproducing them in novel ways. So much of the importance of her works derives from the fact that these works are recognizable within the general American public, but more importantly in the art historical canon. As mentioned before, her photographs are steeped in the rhetoric of 20th Century American male modernist masters, and her sculptures are equally so. Using Duchamp, Donald Judd, Brancusi, Dada, etc. as her material, Levine attempts to recast these sculptures in attempts to represent them yet refine them– she adds new layers of meaning to them through adding new layers of physical material.

 

Crystal Newborn, 1993, cast crystal, Private Collection; and Black Newborn, 1994, cast glass, The Kwon Family. © Sherrie Levine.

Text collaged from various sources.