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– THE BIG STORY –
The Artists Rights Society is saying that James Cameron has to pay a second time for the right to use Picasso’s Les Desmoiselles d’Avignon in the 3-D release of Titanic—despite the fact that the artist kept the painting hidden in his studio until its pubic debut in 1916, and today it is safe and sound at MoMA—because the fancy-glasses-enhanced version of the movie painting constitutes a “new work.” At least the director has the tact to edit out a shot of the groundbreaking masterpiece sinking beneath the waves, replacing it with a somewhat more disposable Degas in the new movie. One has to wonder: what masterpiece will Cameron sink on the Titanic next? (NYT)
– QUOTE OF THE DAY –
“We felt kind of ridiculous, going around Israel and Palestine with a little video camera talking to people, but at the same time compelled. The clown is that character who tries to fix something broken and never gives up because he’s so determined, but it always comes out wrong. We felt that was us.” – Sammy Cucher of the art duo Aziz + Cucher on the centerpiece of their new survey at the Indianapolis Museum of Art (a print of which is available on Artspace)
– MUST READ –
The “Furthest Reaches” of Picasso‘s Psyche – Jonathan Jones writes that the artist’s Vollard Suite of etchings, which go on view at the British Museum next week, lay bare his imagination and his creative energy like nothing else he ever did. If every painting by Picasso were to vanish, and only this series of prints survived, his genius would still be obvious from this work alone.” (Guardian)
Hmm, That’s Embarrassing… – Two paintings by former Soviet spy and Hitler favorite Mykola Hlushchenko that were given to the Ukrainian government’s capital building in 2001 have been stolen and replaced by forgeries. (Bloomberg)
Max Ernst Rises From Grave to Battle Damian Hirst – Jesse Cohen has created a hilarious, twisted Web feature called Art Death Match (on the online magazine Megazine) that pairs artworks by great artists against each other in bloody, violent combat. (Art Death Match)
The Life of a Museum Inmate — Penelope Green spent a lot of time with the artist Dawn Kasper, who is living and working (but not sleeping) in a studio she recreated in the Whitney Museum as part of the Biennial, and notes that she was “reminded not so much of her performance art predecessors but of the spunky siblings in the children’s classic From the Mixed-Up Files of Mrs. Basil E. Frankweiler, who hid out in the Metropolitan Museum of Art.” (NYT)
Alexander Singh and the “Ancient Homeric Tradition” – The Guardian’s Skye Sherwin has picked the Artspace artist the paper’s “artist of the week,” writing appreciatively of his rhapsodic lectures (etymologically speaking) and brainy art. (Guardian)
How Portrait of Wally (and Judith Dobrzynski) Beat the Nazis – Dobrzynski takes a look at the way the famous restitution case over Egon Schiele‘s beloved portrait—a case the journalist modestly notes she kindled with a 1997 article—set in motion the avalanche of successful Nazi-loot restitution suits in recent years. (TAN)
– ART MARKET –
Frieze NYC Week Preview! – Rachel Corbett helpfully rounds up a slew of the biggest art fairs and gallery openings that will be hitting the city next week, from the titular fair to a new Cindy Sherman show at Metro Pictures. (Artnet)
So How Do You Get to Frieze NYC? – Not practice, practice, practice, as Michael Miller finds out in an expedition to Randall’s Island, which he tries on foot and then leaves by taxi ($25.92 to midtown). (Gallerist NY)
Art Cologne Finds New Energy – “Under Daniel Hug’s directorship the fair has come back to life,” according to art fair truth-teller David Zwirner. “Although it’s quieter than Art Basel, Frieze in London, or Fiac in Paris, it’s much stronger than expected. My only critique would be that it conflicts with Art Brussels.” (TAN)
– IN & OUT –
This year the Whitney‘s American Art Award will be designed by artist Nicole Eisenman and bestowed upon collector and publisher Peter Brant, the Henry Luce Foundation, and Ogilvy & Mather. (Gallerist NY)
Cooper Union, the legendary free art school just below New York’s Astor Place, has announced that it will begin charging its graduate students next year despite months of furious protest over a measure many believe will harm young artists. (NYT)
The Neuberger Museum of Art at SUNY Purchase has named Paola Morsiani as its new director, recruiting her from the Cleveland Museum of Art, where she was curator of contemporary art. (NYT)
Architect Steven Holl (of Nelson-Atkins “lens” fame) has designed a $32 million new Institute for Contemporary Art for Virginia Commonwealth University, with the 38,000-square-foot “incubator” due to open in 2015. (NYT)
The Armory Show will return on March 7-10, 2013, for its 15th edition. (Press Release)
The Independent art fair has announced it will also return to the former Dia building on March 7-10, 2013, with a layout once again designed by Christian Wassmann (who acquitted himself so nicely this year) and a chic media partner in Milan’s Mousse magazine. (Press Release)
