Thursday, June 21, 2018

Arthur Köpcke | Continue









Arthur Köpcke
Continue
Berlin, Germany: René Block, 1972.
26 x 36 x 2 cm., loose leaves in cloth box
Edition of 150 signed and numbered copies

The 33rd edition published by René Block, this small box contains Köpcke's "creative ideas" as  collages on black cardboard. Signed in green crayon by the artist.

Thursday, June 14, 2018

David Shrigley | Really Good (Fourth Plinth)








David Shrigley
Really Good (Fourth Plinth)
London, UK: Arts Council, 2016
29 cm. high
Edition of 3000 signed and numbered copies.

“I guess this is a work about making the world a better place or it purports to actually make the world a better place. Obviously, this is a ridiculous proposition, but I think it’s a good proposition. Artworks on their own are inanimate objects so they can’t make the world a better place. It is us, so I guess we have to ask ourselves how we can do this.”

- David Shrigley

Wednesday, June 13, 2018

Sunday, June 10, 2018

Portia de Rossi and General Public







If you've been watching season five of Arrested Development, you may be wondering about Portia de Rossi. Despite her character being central to the plot of the season's arc (Lindsay Bluth is running for public office), she appears in only a handful of episodes, and almost always via an obvious green screen. Or under a blanket, even.

When series four debuted on Netflix in 2013, it was met with much criticism over the excessive use of green screen, and the fact that the characters were rarely all seen together, depriving audiences of the chemistry of their interplay. The writers and producers had tried to turn the limitations of the production from a liability into an advantage. The cast - all with increased profiles since the original three seasons - had conflicting schedules and so the season was written as a series of episodes (of varying lengths) each focusing on a single character. The confused timelines would eventually resolve themselves, and reward binge watchers. A joke would be set up early in the season, and pay off many episodes later (such as Tobias' license plate heralding his "new start" being revealed to read "ANUSTART").

The experiment was generally considered a failure and a few weeks prior to the release of season five, creator Mitch Hurowitz remixed the season as a kind of mea culpa. The episodes were recut in a more chronological order, and efforts were made to feature as much of the cast as possible in each episode. The remixed series was then presented as canon, and Netflix has made the originals more difficult to find on the site (under the "Trailers and More" section).

So why revert back to green screen for de Rossi's character?

The actress recently announced that she was retiring from acting in order to pursue "a business venture". It turns out that that business venture is the publication of artists' editions.

de Rossi, reportedly an art lover and collector, announced that she wishes to “cut out the middleman, democratize art, and empower the artist.” Her new company, General Public, aims to use the new technology of 3D printing to offer "paintings" that capture the texture and brushwork of the original, in unlimited editions. The Synograph™, a state-of-the-art scanner and printer, will be used to create works that will be priced between five hundred and five-thousand dollars.

The "democratization" (a key phrase in the early days of artists' multiples and editions) seems to be the elimination of the gallery. The gallerist - someone who develops long-term relationships with an artist and nurtures and supports their practice - is viewed as the "middleman" to be "cut out". The romanticization of the artist often results in the gallerist portrayed as the exploitative capitalist, despite having to pay rent, renovations, salaries, printing and mailing costs, food and alcohol at the opening, and countless other expenses associated with operating a commercial gallery.

de Rossi's "empowerment" of the artist would, presumably, lie in the royalty rate. Gallerists typically take 50% of the sales price, which is on the lower side of fair given their costs (and the fact that unlike the artists they represent they rarely qualify for grants, can't accept teaching positions, or jobs on installation crews, etc. etc.).

General Public takes 95%. The artist gets a royalty of just five per cent. Less if the work is sold through wholesalers. At an average price of a thousand dollars, artists will earn fifty dollars, at most, for each 'unit' sold. Unless very, very lucky, it seems unlikely that artists will earn enough to pay back the return shipping costs of sending their painting to General Public to be scanned.

I'm sure de Rossi (and her wife, Ellen DeGeneres) have access to some very wealthy friends, and maybe some of them will be introduced to contemporary art this way. But I suspect they are less a client base than a funding model.

I'm reminded of Neil Young's Pono Player, the already-abandoned high-definition alternative to the iPod/iPhone. The company failed to find a consumer base to fleece, but met their kickstarter goal in an afternoon. All on the back of having a superstar musician involved.

Whether a TV star has much pull as a musical icon, and whether there is an audience for high-resolution reproductions of paintings remains to be seen, but I'm guessing that if Jeffrey Tambor's scandals don't prevent Arrested Development from returning for a sixth season, de Rossi will be more available than ever to participate.




Saturday, June 9, 2018

In the Spirt of Fluxus : Stamps by Robert Watts





Robert Watts
In the Spirt of Fluxus : Stamps by Robert Watts
Minneapolis/New York, USA: Walker Art Center / Robert Watts Studio Archive, 1993
4.6 x 2.6 cm.
Edition size unknown

The Walker Art Centre 1993 exhibition In the Spirit of Fluxus featured a vintage stamp vending machine from which visitors could purchase facsimiles of Robert Watts' Fluxus stamps.

This set of three stamps is available from Specific Object, here, for $75 US.


Friday, June 8, 2018

Jenny Holzer | Truisms Footstool: An Elite Is Inevitable...



Jenny Holzer
Truisms Footstool: An Elite Is Inevitable... 
New York City, USA: The New Museum, 1988
40.6 x 58.4 x 40.6 cm.
Edition of 40

A baltic brown granite bench, now valued at approximately $35,000.

Thursday, June 7, 2018

Between Poetry and Painting



Jasia Reichardt [ed]
Between Poetry and Painting
London, UK: Institute of Contemporary Arts, 1965
84 pp., 20 x 20.5 cm., spiral-bound
Edition size unknown


An exhibition catalogue for a show curated by Jasia Reichardt and held at the Institute of Contemporary Arts, London, UK, from October 22, 1965 to November 27, 1965. The purview is work at the confluence of poetry and painting, with a particular emphasis on visual poetry and adjacent forms.

Exhibiting artists include: Pierre Albert-Birot, Nanni Balestrini, Thomas Bayrle/Bernhard Jäger, Claus Bremer, Henri Chopin, Bob Cobbing, Kenelm Cox, Klaus-Peter Dienst, Rolf-Gunter Dienst, Reinhard Döhl, Tom Edmonds, Ian Hamilton Finlay, Barry Flanagan, John Furnival, Heinz Gappmayr, Pierre Garnier, PA Gette, Eugen Gomringer, Raoul Hausmann, Bernard Heidsieck, Joseph Hirsal, Dom Sylvester Houédard, Ernst Jandl, Thomas Kabdebo, Jiří Kolar, Ferdinand Kriwet, John Latham, Roberto Altmann, Isidore Isou, Maurice Lemaítre, Gio Minola, Roland Sabatier, Jacques Spacagna, Hansjörg Mayer, Franz Mon, Edwin Morgan, Ronaldo Azeredo, Augusto de Campos, Haroldo de Campos, Décio Pignatari, Pedro Xisto, Ladislav Novak, Antonio Porta/Romano Ragazzi, Josua Reichert, Dieter Rot, Gerhard Rühm, John Sharkey and Hans Staudacher.