Sunteți pe pagina 1din 177
Issue 36 £5.00
Issue 36 £5.00
Issue 36 £5.00
Issue 36 £5.00
Issue 36 £5.00
Issue 36 £5.00
Issue 36 £5.00
Issue 36 £5.00
Issue 36 £5.00
Issue 36 £5.00

Issue 36 £5.00

‘Before making the list, I made fun of it; now that I am on it, I dread being taken off.’ – Jerry Saltz ( no. 73)

november 2009

I dread being taken off.’ – Jerry Saltz ( no. 73) november 2009 The def initive

The def initive guide to who’s who in the artworld

I dread being taken off.’ – Jerry Saltz ( no. 73) november 2009 The def initive
HAUSER & WIRTH NEW YORK Paul McCarthy SNOW WHITE 4 NOVEMBER — 24 DECEMBER 2009
HAUSER & WIRTH NEW YORK
Paul McCarthy
SNOW WHITE
4 NOVEMBER — 24 DECEMBER 2009
32 EAST 69TH STREET
NEW YORK NY 10021
TELEPHONE +1 212 794 4970
FACSIMILE +1 212 794 4971
WWW.HAUSERWIRTH.COM

SNOW WHITE, GINGER THEN, 2009, CHARCOAL, OIL STICK, COLLAGE ON PAPER, 261.6 x 203.2 CM / 103 x 80 INCHES, PHOTO: ANN-MARIE ROUNKLE

CORY ARCANGEL

DREI KLAVIERSTÜCKE, OP. 11

NOVEMBER 2009 – JANUARY 2010

DREI KLAVIERSTÜCKE, OP. 11 NOVEMBER 2009 – JANUARY 2010 SALZBURG AUSTRIA MIRABELLPLATZ 2 T 43 662

SALZBURG

AUSTRIA

MIRABELLPLATZ 2

T 43

662 881 393

F 43 662 881 3939
F 43 662 881 3939
WWW.ROPAC.NET
WWW.ROPAC.NET

Jonathan Ellery

Ellery’s Theory of Neo-conservative Creationism

Sculpture, sound and moving image 10th–29th November 2009

The Wapping Project Wapping Hydraulic Power Station Wapping Wall London E1W 3ST

For more information contact The Wapping Project T +44 (0)20 7680 2080 marta@thewappingproject.com

Accompanied by a limited edition publication available from Browns Editions www.brownseditions.com

@ thewappingproject.com Accompanied by a limited edition publication available from Browns Editions www.brownseditions.com
Matthew Day Jackson “Dynamic maximum Tension” oct 10 - nov 21, 2009 uPcominG: DanieL RicHTeR

Matthew Day Jackson “Dynamic maximum Tension” oct 10 - nov 21, 2009

uPcominG: DanieL RicHTeR nov 28 - jan 9, 2010

Keizersgracht 82, 1015 CT Amsterdam, The Netherlands, www.grimmfineart.com, Tel +31 ( 0 ) 20 4227 227, Fax +31 ( 0 ) 20 3301 965.

Kanta Kimura PatricK Fabian Panetta 04.02 – 03.03.2010 Painting & SculPture in timeS oF criSiS

Kanta Kimura PatricK Fabian Panetta

04.02 – 03.03.2010

Painting & SculPture

in timeS oF criSiS

Ludmila Bereznitsky & Partner Gallery, 2b Andriivsky Euviz, 04070 Kiew, Ukraine www.bereznitsky-gallery.com

BART STOLLE

low fixed media show

December - January

BART STOLLE low fixed media show December - January Spasmodic variegated savage, 60 x 50 cm,

Spasmodic variegated savage, 60 x 50 cm, acrylic on canvas

ZENO X GALLERY

MICHAËL BORREMANS - DIRK BRAECKMAN - MIRIAM CAHN - RAOUL DE KEYSER - JAN DE MAESSCHALCK - STAN DOUGLAS MARLENE DUMAS - KEES GOUDZWAARD - NORITOSHI HIRAKAWA - YUN-FEI JI - KIM JONES - JOHANNES KAHRS NAOTO KAWAHARA - JOHN KÖRMELING - MARK MANDERS - JOCKUM NORDSTRÖM - AVERY PREESMAN - JENNY SCOBEL MARIA SEREBRIAKOVA - LUC TUYMANS - PATRICK VAN CAECKENBERGH - ANNE-MIE VAN KERCKHOVEN - CRISTOF YVORÉ

ZENO X GALLERY · LEOPOLD DE WAELPLAATS 16 · 2000 ANTWERP · BELGIUM · INFO@ZENO-X.COM · WWW.ZENO-X.COM

ConTEnTS

NoVeMBeR 2009

DISPATCHES 31

Snapshot: Reka Reisinger Now See This: Lynda Benglis; Gordon Matta-Clark; Performa; Tony Conrad; Ugo Rondinone; Tatsuo Miyajima; Man Ray; Anne Truitt; 1989: End of History or Beginning of the Future?; Marc Camille Chaimowicz. Columns: Paul Gravett discusses the work of Janek Koza; Joshua Mack frets about the implications of the First Annual Art Awards at the Guggenheim in New York; Marie Darrieussecq sizes up France’s new minister of culture; Axel Lapp is excited by the Hamburger Bahnhof rehang. The Free Lance: Christian Viveros- Fauné investigates Bruce High Quality Foundation’s venture into higher education. London Calling: J.J. Charlesworth looks at the UK’s increasingly panicked attitude towards the taking and publishing of imagery. Top Five: The pick of art to see this month, as selected by Polly Staple. Design: Hettie Judah wonders at the future of consumer design. Consumed: Index cards by Peter Suchin; limited- edition book by Dennis Hopper; Ron Arad designs at MoMA; Visionaire’s 2010 electronic calendar; Rosalind Nashashibi limited-edition print; print editions from IMMA; Marilyn Minter tote bag; short shorts from Creative Time and American Apparel An Oral History of Western Art:

Matthew Collings catches up with Jean-Antoine Watteau. Manifesto: Nigel Cooke

up with Jean-Antoine Watteau. Manifesto: Nigel Cooke on the cover: The Winner , 2009, by NIGeL

on the cover:

The Winner, 2009, by NIGeL CooKe, courtesy Stuart Shave/Modern Art, London

on the cover: The Winner , 2009, by NIGeL CooKe, courtesy Stuart Shave/Modern Art, London 32

32

on the cover: The Winner , 2009, by NIGeL CooKe, courtesy Stuart Shave/Modern Art, London 32

36

on the cover: The Winner , 2009, by NIGeL CooKe, courtesy Stuart Shave/Modern Art, London 32

42

on the cover: The Winner , 2009, by NIGeL CooKe, courtesy Stuart Shave/Modern Art, London 32

46

on the cover: The Winner , 2009, by NIGeL CooKe, courtesy Stuart Shave/Modern Art, London 32

40

on the cover: The Winner , 2009, by NIGeL CooKe, courtesy Stuart Shave/Modern Art, London 32

52

Untitled (Bench), 2009, oil on canvas, 11 x 10" © 2009 Tim Eitel/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn

Tim Eitel

Invisible Forces

New York/VG Bild-Kunst, Bonn Tim Eitel Invisible Forces November 6–December 5, 2009 www.pacewildenstein.com 545

November 6–December 5, 2009

Bonn Tim Eitel Invisible Forces November 6–December 5, 2009 www.pacewildenstein.com 545 West 22nd Street New York

www.pacewildenstein.com

545 West 22nd Street New York City

Untitled (Bench), 2009, oil on linen, 11 x 10" © 2009 Tim Eitel / Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

Tim eiTel

November 6—December 5, 2009 545 West 22ND street NeW York citY

www.pacewildenstein.com
www.pacewildenstein.com

Contents

NoVEmBER 2009

FeAtURes

tHe PoWeR 100 in AssoCiAtion WitH RUinARt 73

The most powerful people in the contemporary artworld

tHRee tAkes on PoWeR

131

Martin Creed, Assume Vivid Astro Focus and Wilfredo Prieto respond to the idea of power

20 ArtReview

ReAR vieW vitAl stAtistiCs 159

What this year’s power list means, in a language everyone can understand

A timeline oF signiFiCAnt ARt events in tHe PAst yeAR 164

A lot can happen in 12 months, not all of it forgettable – here the highlights and low moments of a tumultuous year in the artworld (and beyond)

stRiP 170

By Janek Koza

on tHe toWn 172

West End openings in London, Thomas Demand at the Neue Nationalgalerie in Berlin

oFF tHe ReCoRd 174

Gallery Girl tries to get on TV

in London, Thomas Demand at the Neue Nationalgalerie in Berlin oFF tHe ReCoRd 174 Gallery Girl
in London, Thomas Demand at the Neue Nationalgalerie in Berlin oFF tHe ReCoRd 174 Gallery Girl
in London, Thomas Demand at the Neue Nationalgalerie in Berlin oFF tHe ReCoRd 174 Gallery Girl

73

in London, Thomas Demand at the Neue Nationalgalerie in Berlin oFF tHe ReCoRd 174 Gallery Girl
in London, Thomas Demand at the Neue Nationalgalerie in Berlin oFF tHe ReCoRd 174 Gallery Girl
in London, Thomas Demand at the Neue Nationalgalerie in Berlin oFF tHe ReCoRd 174 Gallery Girl
fondation.cartier.com The exhibition is open every day, except Monday, from 11 a.m. to 8 p.m.
fondation.cartier.com The exhibition is open every day, except Monday, from 11 a.m. to 8 p.m.
fondation.cartier.com The exhibition is open every day, except Monday, from 11 a.m. to 8 p.m.
fondation.cartier.com The exhibition is open every day, except Monday, from 11 a.m. to 8 p.m.
fondation.cartier.com The exhibition is open every day, except Monday, from 11 a.m. to 8 p.m.
fondation.cartier.com The exhibition is open every day, except Monday, from 11 a.m. to 8 p.m.
fondation.cartier.com The exhibition is open every day, except Monday, from 11 a.m. to 8 p.m.
fondation.cartier.com The exhibition is open every day, except Monday, from 11 a.m. to 8 p.m.
fondation.cartier.com The exhibition is open every day, except Monday, from 11 a.m. to 8 p.m.

fondation.cartier.com

The exhibition is open every day, except Monday, from 11 a.m. to 8 p.m. / Tuesday evenings until 10 p.m. Admission: 6,50 € - 4,50 € / Free entry for visitors under 18 on Wednesday from 2 p.m. to 6 p.m. / Priority admission tickets: Fnac stores and fnac.com 261, boulevard Raspail F-75014 Paris / Tel. +33 (0)1 42 18 56 50

The exhibition Born in the Streets—Graffiti is organized with support from the Fondation Cartier pour l’art contemporain, under the aegis of the Fondation de France, and with the sponsorship of Cartier. Photo: Stalingrad, Paris. Photo by Henry Chalfant, 1985.

Editorial

Editor Mark Rappolt Executive Editor David Terrien Associate Editors J.J. Charlesworth Martin Herbert Assistant Editor Laura Allsop Editors at Large Laura McLean-Ferris Jonathan T.D. Neil Contributing Writer Oliver Basciano editorial@artreview.com

Contributors

Contributing Editors Tyler Coburn, Brian Dillon, Hettie Judah, Axel Lapp, Joshua Mack, Christopher Mooney, Niru Ratnam, Chris Sharp, Skye Sherwin

Contributing Writers Matthew Collings, Gallery Girl, Paul Gravett, Christian Viveros-Fauné

Contributing Artists / Photographers Assume Vivid Astro Focus, Nigel Cooke, Martin Creed, Michael Evanet, Heinz Peter Knes, Janek Koza, Mathieu Malouf, Ari Marcopoulos, Ian Pierce, Wilfredo Prieto, Reka Reisinger, Robi Rodriguez, Heji Shin, Juergen Teller

Interns Claire Alliot-Soto, Alexander Springer

a

rt

Art Director Tom Watt Design Ian Davies art@artreview.com

s ubsC riptions

USA / Canada ArtReview Subscriptions 3330 Pacific Avenue Suite 404 Virginia Beach, VA

23451-2983

T: 1 800 428 3003

UK / Europe / Rest of World ArtReview Subscriptions Tower House Sovereign Park Lathkill Street Market Harborough Leicestershire LE16 9EF T: 44 (0)1858 438 803 F: 44 (0)1858 461 739

To subscribe online visit www.artreview.com

(0)1858 461 739 To subscribe online visit www.artreview.com ArtReview Ltd, 1 Sekforde Street, London EC1R 0BE
ArtReview Ltd, 1 Sekforde Street, London EC1R 0BE

ArtReview Ltd, 1 Sekforde Street, London EC1R 0BE

T: 44 (0)20 7107 2760 F: 44 (0)20 7107 2761

T: 44 (0)20 7107 2760 F: 44 (0)20 7107 2761

Some think masterpieces. We think masterminds.
Some think
masterpieces.
We think
masterminds.

Partner of the National Gallery Since 1856, it has been our philosophy to help create and maintain value to the benefit of our clients. We are proud of our partnership with the National Gallery, who, like Credit Suisse, draws on profound expertise to share and build common values. To this end, we support education activities at the National Gallery, which stimulate young minds through an appreciation of fine arts. www.credit-suisse.com/sponsorship

the National Gallery, which stimulate young minds through an appreciation of fine arts. www.credit-suisse.com/sponsorship
the National Gallery, which stimulate young minds through an appreciation of fine arts. www.credit-suisse.com/sponsorship
the National Gallery, which stimulate young minds through an appreciation of fine arts. www.credit-suisse.com/sponsorship

Publishing

Publisher Charlotte Robinson charlotterobinson@artreview. com

Production

Production Manager Rebecca Rudi production@artreview.com

Production (acting) Allen Fisher

Marketing

Magazine and Exhibitions Emilie Charlesworth emiliecharlesworth@ artreview.com

artreview.com Petra Polic petrapolic@artreview.com

distribution

Worldwide Stuart White stuartwhite@artreview.com

USA Nicola Crockett nicolacrockett@artreview.com

Finance

Finance Manager Jonathan Steinberg Financial Controller Lyndon Morris

artreview liMited

ArtReview is published by ArtReview Ltd Chairman Dennis Hotz Group Managing Director Debbie Shorten Managing Director, Digital Publishing Daniel Rowles

gallery

advertising

UK Michael Gill T: 44 (0) 20 7107 2769 michaelgill@artreview.com

USA / Canada Florence Dinar T: 1 201 688 6589 florencedinar@artreview.com

France / Italy / Spain / Belgium / Latin A merica Moky May T: 33 (0)6 25 77 04 75 mokymay@artreview.com

Germany / Switzerland / Austria / Holland / Russia / Scandinavia Anna Müller T: 44 (0)20 7107 2764 annamuller@artreview.com

Asia / Middle East Florence Dinar T: 1 201 688 6589 florencedinar@artreview.com

corPorate / liFestyle

advertising

Worldwide Charlotte Regan T: 44 (0)7702 554 767 charlotteregan@artreview.com

Stacey Langham T: 44 (0)7720 437 088 staceylangham@artreview.com

Advertising Offices USA / Canada Publicitas North America Laura Saitta T 1 212-330-0729 laura.saitta@publicitas.com

Germany / Austria Mercury Publicity Angelika Marx a.marx@mercury-publicity.de T: 49 6172 966 4012

Italy Charlotte Regan T: 44 (0)7702 554 767 charlotteregan@artreview.com

France / Belgium Infopac SA Jean Charles Abeille jcabeille@infopac.fr T: 33 (0)1 46 43 00 66

Nordic Countries Interdeco AB Kenneth Reincke kenneth.reincke@ interdeco.se T: 46 (8) 457 89 09

Switzerland / Lichtenstein Leadermedia Alessandro Induni ainduni@leadermedia.ch T: 41 21 65 44 000

Alessandro Induni ainduni@leadermedia.ch T: 41 21 65 44 000 Reprographics by Complete Ltd. ArtReview is printed

Reprographics by Complete Ltd. ArtReview is printed by St Ives Plymouth and Roche.

Copyright of all editorial content in the UK and abroad is held by the publishers, ArtReview Ltd. Reproduction in whole or part is forbidden save with the written permission of the publishers. ArtReview cannot be held responsible for any loss or damage to unsolicited material. ArtReview, ISSN 1745-9303, is published 9 times a year by ArtReview Ltd. USA agent: IMS Clevett Worldwide, 19 Route 10 East, Bldg 2 Unit 24, Succasunna, NJ 07876.

Subscription price is US $89 per annum. Periodicals Postage Paid at Succasunna,

Subscription price is US $89 per annum. Periodicals Postage Paid at Succasunna,

NJ. Postmaster: Send address changes to: ArtReview, c/o IMS, 3330 Pacific Avenue, Ste 404, Virginia

NJ. Postmaster: Send address changes to: ArtReview, c/o IMS, 3330 Pacific Avenue, Ste 404, Virginia Beach, VA 23451, USA.

Paul Gravett photo: Peter Stanbury

conTriBUTorS

NOVEMBER 2009

PaUl GraveTT

Paul Gravett is a writer, lecturer and broadcaster on international comic art, and writes a monthly column for ArtReview on a graphic artist of note (usually the creator of that month’s Strip). Gravett is also director of Comica, an annual festival and ongoing programme of events based at London’s ICA. This summer he curated the first exhibition in Britain of contemporary Chinese comics and an exhibition on ‘Atom Style’ comics inside one of the balls of the Atomium monument near Brussels.

Heinz PeTer kneS

An artist and photographer hailing from Gemünden am Main, Heinz Peter Knes came to wider international attention when his photography was featured on the cover of Butt magazine and subsequently in the Taschen publication Butt Book (2006), edited by Wolfgang Tillmans. Knes works regularly for a plethora of edgy magazines, including Nylon, Spex, 032c, Purple and, of course, ArtReview, for which he has taken some of the New York portraits for this year’s Power 100. As a practising artist, he is represented by Berlin’s Galerie Crone.

26 ArtReview

Janek koza

Janek Koza was born in 1970 in Wroclaw, Poland, where he studied painting at the Academy of Fine Arts. While working there as an assistant in the visual information department, he developed his interests in video and animation, and has since produced more than a hundred animated films screened at festivals worldwide. Koza has had two books of his comics published in Poland and draws this month’s Strip for ArtReview.

HeJi SHin

Heji Shin’s photographs of our Berlin-based power players grace this year’s Power 100. Born in 1976 in Seoul, Shin has lived in Berlin since 1998. She came to attention for her cinematic, heavily atmospheric photography, in publications such as 032c, Achtung and Die Zeit in Germany. Shin staged images of Olivier Theysken’s first collection for Rochas, creating photos in which the models appeared like painted film stills. Shin works mainly in editorial and portrait photography.

ian Pierce

Ian Pierce, a London-based photographer and art director whose favourite subjects are people, buildings and fashion, has worked recently on a documentary project with the artist Richard John Jones, on-set on the feature film Bedlam and backstage at the Peter Jensen/Laurie Simmons collaboration during September’s London Fashion Week. He’s also involved in a long-term project with an architect and a series of portraits of writers. For this month’s ‘On the Town’, he documented several long evenings of gallery openings in London’s West End.

For this month’s ‘On the Town’, he documented several long evenings of gallery openings in London’s
For this month’s ‘On the Town’, he documented several long evenings of gallery openings in London’s
For this month’s ‘On the Town’, he documented several long evenings of gallery openings in London’s
For this month’s ‘On the Town’, he documented several long evenings of gallery openings in London’s
For this month’s ‘On the Town’, he documented several long evenings of gallery openings in London’s
JAGANNATH PANDA THE ACTION OF NOWHERE 27 NOVEMBER 2009 – 15 JANUARY 2010 7 DOVER
JAGANNATH PANDA THE ACTION OF NOWHERE 27 NOVEMBER 2009 – 15 JANUARY 2010 7 DOVER

JAGANNATH PANDA

THE ACTION OF NOWHERE

27 NOVEMBER 2009 – 15 JANUARY 2010

7 DOVER STREET LONDON W1S 4LD

TEL. 00 44 (0) 20 7629 0090 FAX. 00 44 (0) 20 7629 3229

WWW.ALEXIAGOETHEGALLERY.COM

PRESS@ALEXIAGOETHEGALLERY.COM

MONDAY TO FRIDAY 10AM–6PM SATURDAY 11AM–4PM

NOVEMBER 13 TH - JANUARY 9 TH

NOVEMBER 13 T H - JANUARY 9 T H 2 rue Isidore Verheyden 1050 Bruxelles Belgique
NOVEMBER 13 T H - JANUARY 9 T H 2 rue Isidore Verheyden 1050 Bruxelles Belgique

2 rue Isidore Verheyden 1050 Bruxelles Belgique T +32 2 512 92 95 F +32 2 512 71 08 info@baronianfrancey.com www.baronianfrancey.com

Verheyden 1050 Bruxelles Belgique T +32 2 512 92 95 F +32 2 512 71 08

DISPATCHES

Nov E mb E r

Snapshot Now See This The Free Lance / London Calling Top Five Design Consumed An Oral History of Western Art

31

32

34/40

42

44

46

56

An Oral History of Western Art 31 32 34/40 42 44 46 56 s n a

snapshot reka reisinger

In this ongoing series, Reisinger provides us with the work Elevation (2009). “I make lifesize card board cutouts by hand (often self-portraits) and rephotograph them out in the world using a view camera. I do not use any digital manipulation. This one is being lifted into the air by balloons at the Petrified Forest National Park [in Arizona]; at one point it flew so far away it was only visible as a dot over the desert. There were a few moments when I felt a slight panic that I might lose myself.”

clockwise from left: Lynda Benglis, still from Female Sensibility, 1973, videotape loop, 13 min 5 sec, courtesy Cheim & Read, New York, © the artist/licensed by VAGA, New York; William Kentridge, I Am Not Me, the Horse Is Not Mine, 2008, performance still, courtesy the artist and Performa, New York; Tony Conrad, Re-Framing Creatures, 2009, film still, courtesy Galerie Daniel Buchholz, Cologne & Berlin

DISPATCHEScourtesy Galerie Daniel Buchholz, Cologne & Berlin now SEE THIS words MArtIN herBert This month marks courtesy Galerie Daniel Buchholz, Cologne & Berlin now SEE THIS words MArtIN herBert This month marks

now SEE THIS

words MArtIN herBert

This month marks 35 years since the most infamous advertisement ever to appear in an art magazine was published: a photograph, in the November 1974 Artforum, of a short-haired woman wearing nothing but sunglasses and holding a latex dildo as an ersatz erection. At once an advertisement for an

exhibition at Paula Cooper Gallery by Lynda

Benglis (Irish Museum of Modern Art, Dublin, 4 November – 24 January, www.modernart.ie) and the culmination

of a series of ads-as-art, that image is what the Louisiana-born artist is best known for. She’s done far more, as this survey reaffirms. From floor-based ‘fallen paintings’ in poured latex and polyurethane made during the late 1960s (decades before Polly Apfelbaum commandeered the epithet) to her complex pleated sculptures in metal of recent decades, Benglis has built on Minimalism as vitally and variously as any of her coevals. Her determined sensualising of its aesthetic was barely understood until the 1980s; if she’s still not sufficiently lionised, it’s probably mostly because a) she’s female, and b) she’s still alive.

because a) she’s female, and b) she’s still alive. In this sense, Gordon Matta-Clark (Museo Nacional

In this sense, Gordon Matta-Clark (Museo Nacional de Bellas Artes, Santiago, 10 November – 3 January, www.dibam.cl/bellas_artes), Benglis’s

contemporary, who died of cancer age thirty-five in 1978, is her mirror image; and the Matta-Clark memorial industry-cum-cult trundles on this month in Santiago. That said, the show has meaningful roots. The late artist’s father, the surrealist Roberto Matta, was born in the city, and in 1971 Matta-Clark went there, apparently both to look for him and to execute the first of his soon-to-be- trademark architectural slicings inside the Museo Nacional. A photographic series documenting that

work forms the centrepiece of this retrospective, alongside documentation of his other admirably rangy 1970s projects, from Fake Estates (parcels of unwanted Manhattan ‘gutterspace’ that Matta- Clark bought at auction in 1973–74 and designated as art) to archive materials relating to Food, his shortlived restaurant-as-performance in a former SoHo bodega.

A more concerted take on the performative occupies

New York in November: once again, it’s time for

Performa (various venues, New York, 1–22 November, www.performa-

arts.org), whose third edition, Performa 09

– organised, as ever, by tireless live-arts

maven RoseLee Goldberg – doubles as a celebration of the centenary of Futurism, a cornerstone of

a celebration of the centenary of Futurism, a cornerstone of performance art if ever there was

performance art if ever there was one. More than 150 artists, and 60 arts institutions, will be involved in a show involving 11 specially

commissioned works and six premieres of works never before seen in New York; the roll call ranges from Tracey Emin to experimental rock vocalist Mike Patton, from Kalup Linzy to Tony Conrad. Those who miss Conrad live can still catch up with this slippery Zelig of the American avant-garde

– microtonal drone violinist, former acolyte of

La Monte Young, performance artist, manufacturer of electrified sound sculptures – as his career continues its recent upswing, in a solo show in

Berlin, Tony Conrad: Re-Framing Creatures (Daniel Buchholz, Cologne, 30 October – 21 November, www. galeriebuchholz.de).

Re-Framing Creatures (Daniel Buchholz, Cologne, 30 October – 21 November, www. galeriebuchholz.de) . 32 ArtReview

from top: Ugo Rondinone, still.life. (pine tree laying in a corner), 2008, two parts, bronze, paint, 12 x 517 x 542 cm, edition of 1 + 1AP, © the artist, courtesy Sadie Coles HQ, London; Tatsuo Miyajima, C.F Lifestructurism – no. 14, 2008, 40 LEDs, courtesy the artist and Lisson Gallery, London

Stripped Bare

courtesy the artist and Lisson Gallery, London Stripped Bare Painting and animation were the first twin

Painting and animation were the first twin passions of Janek Koza, born 1970, while studying and working at the Fine Art Academy in Wrocław, the Silesian capital in southwest Poland. The deliberately unslick, handmade marks of his more than 100 cartoon films quiver with a nervous fragility on their smudged paper surfaces. He started in 1993 with erotic Confessions, shown on local television and at festivals worldwide. A decade

later, these vignettes of vulnerable couples formed the basis of

a branching out into comics. Koza insists none of his work is

autobiographical: “They are only stories influenced by reality around me. I prefer to be an observer.” His output is part of a boom recently in alternative comics in Poland, boosted by the proactive annual festival in October in David Lynch’s turf of Lodz and by one-person publisher Kultura Gniewu’s translations of today’s international stars and efforts to introduce homegrown talents like Koza. Last year for Kultura Gniewu he created everything Is Wrong, wry tragicomedies about people’s struggles to survive and relate to others at work and at home: a checkout clerk’s romance with a salesgirl in frozen foods cools rapidly as her job chills her body and her emotions; an elderly cobbler turns to arson when he loses all his customers to a supermarket which sells such cheap shoes that nobody bothers to repair their worn ones any more. Comics and animation still don’t pay enough to make Koza’s living, but he’s staying productive and provocative. His latest animation, for the song Parzydełko (Sting, 2008), by Polish band Pustki, subtly insinuates a gay romance into the story of a fireman ‘burning with love’, who rescues another fireman from an accident. Koza is also embarking on his first

full-length graphic novel. “I’m thinking about the roots of hate.

I want to write a story about the Jews’ genocide in Poland, but

from the civilian side. I think rather about situations, not about dates and names. I’m still not sure if I can manage this.” Koza’s strip in this issue addresses a chilling scandal in Poland from a few years ago. He created this for Artreview as part of Ctrl.Alt.Shift Unmasks Corruption, a compilation and exhibition of political-reportage comics from as far afield as Serbia, South Africa, China, India and New Zealand, organised by campaigning charity Ctrl.Alt.Shift.

Work by Janek Koza is on show at Lazarides Gallery, London, 6–30 November, as part of this year’s Comica Festival

words PAUL GrAvett

If anyone is performing in the art of Ugo

Rondinone (Sadie Coles, London,

13 October – 21 November, www.

sadiecoles.com), it is generally the viewer:

one tends to do a sort of solo dance of pleasurable frustration through the Swiss jester’s shows. In his last substantial showing in London, at the Whitechapel Gallery three years ago, Rondinone set up a stymieing environment full of oversize sculptural lightbulbs, doorways that led nowhere and a room in which a stalled, Beckettian

that led nowhere and a room in which a stalled, Beckettian conversation bounced endlessly around. This

conversation bounced endlessly around. This is work that (like the artist’s contemporaneous series of drawings featuring fragmentary cityscapes, My Endless Numbered Days, 2006, shown in his last Sadie Coles exhibit) asks one, not without dry wit, to accustom oneself to the succours of aimless drift, lack of resolution and the potential absence of any logic to life. And one might counterpoint Rondinone’s evocation of stasis and circularity

with the temporal obsessions of Tatsuo

Miyajima (Lisson Gallery, London,

25 November – 9 January, www.

lissongallery.com), who’s lately passed his quarter-century of artmaking and whose signature

passed his quarter-century of artmaking and whose signature arrays of rolling LED digits, accumulating microseconds,

arrays of rolling LED digits, accumulating microseconds, seconds and minutes as we watch them, are designed to place one utterly in the moment and within a kind of technological sublime (or in the case of the countdown machine Death Clock, 2005, something more closely resembling terror).

The Free laNceThe FirsT NexT GreaT idea A New York artist collective gives recession malaise the finger The FirsT NexT GreaT idea A New York artist collective gives recession malaise the finger

The FirsT

NexT

GreaT idea

A New York artist collective gives recession malaise the finger – by opening a free university

malaise the finger – by opening a free university formulated the first substantively original, forward-looking

formulated the first substantively original, forward-looking idea of the Great recession. that they have done so while

also querying the sustainability of a tired dIY gallery model demonstrates only part of the genius of the Bruces’ critical tack. rather than snivelling about the market (new York critics take note), they’ve preferred to identify artworld ‘problems’ and ‘solutions’ in a wholly coeval arena, in which legions of collateral artworld vices reside: arts education. a project that lives and breathes precisely at the much heralded but rarely transited intersection of art and life, BhQF prefigured BhQFU in a typically dynamic July lecture/ performance titled ‘explaining Pictures to a dead Bull’. Invoking both st Joseph (Beuys) and the dead bull market, the Bruces impertinently connected the broken lines among art, the market and MFa programmes in what they called ‘a polemic against rote learning’ that was also, necessarily, a broadside against rote artmaking and – even more importantly – a bitch slap struck at received postmodern pap. not quite an old-style manifesto nor the ‘institutional critique’ that the formidable roberta smith of The New York Times cosily thought she witnessed, the Bruces’ performative

pedagogyprovesasignificantdeparturefrombusinessasusualin

several key respects. Firstly, these fellows trade in contemporary analysis trenchant enough to humble most curators and critics (your modest interlocutor included). secondly, they are artists. third, they are artists. In the fourth place, the Bruces have bundled a set of related, heretofore unconnected ideas into what may be the next $64,000 art question: ‘how can we imagine a sustainable alternative to professionalised art education?’ to continue in gameshow-speak, they have exposed arts education for what it is: the system’s weakest link. what BhQFU has already accomplished is a gift. the fact that the Bruces – with the help of creative time – have established a functioning free university in new York today is miraculous. so, too, is the fact that BhQFU currently carries

a full roster of classes on topics such as ‘art history with

full roster of classes on topics such as ‘art history with words Christian ViVeros-Faune On a

words Christian ViVeros-Faune

On

a

well-heeled

stretch

of

west

Broadway,

alongside a gourmet pizzeria and a riodizio joint, a dented metal door appears. a weathered sign attached to the door by a parenthesis of masking tape reads, simply, ‘BhQFU’. It announces an ingenious portal to the art of tomorrow. the brainchild of the Bruce high Quality Foundation

– a staunchly anonymous artist collective that, among other

art-performances-with-fangs, once chased robert smithson’s Floating Island (1973/2005) around new York harbor in a skiff ferrying a miniature of christo’s The Gates (2005) – their new

venture is, in the electrifying lingo of its founders: ‘a university,

a space for higher education and research, a community of

scholars; an expansion of the BhQF practice to include more participants (that’s where U come in); and a “fuck you” to the hegemony of critical solemnity and market-mediocre despair’. You may visualise this critic smiling broadly and pumping his fist in the air now. Impelled by the aspirational motto ‘professional problems, amateur solutions’, the Bruces – as they prefer to be called, in Dragnet parlance, to protect the innocent – have

Benefits’ (a figurative and literal examination of the romance

‘between cultural funding and sex’), ‘edifying’ (a set of lectures that become performances, and vice versa) and, of course, ‘Build Your Own University’ (BYOU). the true test for BhQFU is likely to come in its search for sustainability – an issue that has bedevilled experiments in arts education from rudolf steiner to Black Mountain college. BhQFU may be around in ten years; then again, it may not. still, when it comes to the Bruces – as Martin amis once wrote about Gore Vidal – even their blind spots are illuminating. a gift that keeps on giving, BhQFU is many things: a university,

a critique of the artworld and a work of art arrived at through

collaboration as a model for social relations. above all, though, BhQFU constitutes something sharper and more urgent today:

it is a first shot across the bow of a status quo probably still too

fucking frazzled to presently give a damn.

DEUTSCHE BANK & THE SOLOMON R. GUGGENHEIM FOUNDATION Grey Area Julie Mehretu 28.10.09 – 6.1.10
DEUTSCHE
BANK
&
THE
SOLOMON
R.
GUGGENHEIM
FOUNDATION
Grey Area
Julie Mehretu
28.10.09
– 6.1.10
Unter den Linden 13 /15 · 10117 Berlin
Phone + 49 (0)30 20 20 93 - 0 · www.deutsche-guggenheim.de
10 a.m. to 8 p.m. · Thu to 10 p.m. · Mon admission free
Julie Mehretu, Berliner Plätze, 2008 /2009 © Julie Mehretu

Experience

Contemporary Art at the Royal Academy

Gain

Exclusive Access

Join

the Contemporary Circle

Contact Sarah on +44(0)207 300 5703 or sarah.schuster@royalacademy.org.uk

26 September – 11 December 2009 Tickets 0844 209 1919 www.royalacademy.org.uk RA FRIENDS GO FREE
26 September – 11 December 2009
Tickets 0844 209 1919
www.royalacademy.org.uk
RA FRIENDS GO FREE
Green Park, Piccadilly Circus
Supported by Richard Chang
Richard & Victoria Sharp and
Media Partner
Anish Kapoor, Shooting into the Corner (detail), 2008–09, installed at MAK, Vienna, 2009.
Photo Nic Tenwiggenhorn. Courtesy the artist and MAK, Vienna

from top: Man Ray, Le violon d’Ingres, 1924, vintage gelatin silver print, Rosalind and Melvin Jacobs Collection, © 2009 Man Ray Trust/Artists Rights Society (ARS), New York/ADAGP, Paris; Anne Truitt, Valley Forge, 1963, acrylic on wood, 153 x 153 x 30 cm, the Rachofsky Collection, © Estate of Anne Truitt/Bridgeman Art Library, New York, courtesy Danese Gallery, New York

DISPATCHESArt Library, New York, courtesy Danese Gallery, New York Paris Sound the trumpets: we have a Art Library, New York, courtesy Danese Gallery, New York Paris Sound the trumpets: we have a

Paris

Sound the trumpets: we have a new minister of culture!

Christine Albanel, who fell into disgrace after the government’s failure to pass a law against digital piracy, has been replaced by Frédéric Mitterrand: yes, from the family of the former president. His nephew. I have a hard time imagining him as

a minister. This deliciously old-fashioned being, who seems

to have been born in a pastel singlet, spent his youth at the Palace, the Parisian nightclub, disguised as a dragonfly or a bumblebee. His voice marked my entire generation: he used to read languid commentaries on documentaries about royal families, in the evening, on the third channel of state-owned television. He made a lyrical gesture of them, detached from

class struggle and other inconveniences of living on this planet. At school we would imitate his elegant tone and his kilometre- long sentences. Frédéric Mitterrand directed a pretty Madame Butterfly (1995), broadcast radio shows on France Culture and wrote books. In La Mauvaise vie (2005) he describes the difficulties

of being an ageing homosexual, and the melancholic resort to

prostitutes. This is a man with style, a kind manner, anything but haughty, and rather whimsical. He was briefly on TF1, the

first private channel, and this apparently reinforced his love of ‘public service’, which is just about the only reason I can find to explain his strange desire to be minister. Minister: the work of a slave, the life of a dog, just about no room to manoeuvre, meetings beginning at an hour when others are leaving the nightclubs, endless worries and criticism. This dragonfly of a man had just been named director of the Villa Medici, in Rome: why didn’t he peacefully stay there to watch dusk fall over the gardens? And what will become of this luxurious residency for French artists now that he is gone? Will the painters lie about in the fountains instead of working for the Republic? One of his first blunders was to organise a big party for his departure; back in Paris, Sarkozy hadn’t yet informed the minister whom Mitterrand was to replace. And his name, of course, is a problem in a right-wing government that invented the Ministry for Immigration and National Identity, a title that evokes the dark hours of Pétain’s wartime fascism rather than the few enlightened moments of the Mitterrand era. I’ll ignore caustic comments to the effect that Sarkozy is taking the mickey out of Mitterrand and persist

in asking this question: what is a man who has lived in the Villa

Medici doing messing around in the ministerial slog?

words MArIe DArrIeUSSeCQ

Turn back the clocks: Alias Man Ray:

The Art of Reinvention (Jewish Museum, New York, 15 November

– 14 March, www.thejewishmuseum.

org) tracks back to the 1920s and moves forward, using 200 works (photographs, paintings, films, sculpture, etc) by the fabled dadaist/surrealist to consider how his art was shaped, as the man born Emmanuel Radnitzky became an expatriate in Paris, by attempts to leave behind his cultural

in Paris, by attempts to leave behind his cultural heritage. Meanwhile, it’s been 35 years since

heritage. Meanwhile, it’s been 35 years since there was a major retrospective of the work of American

painter/sculptor Anne Truitt (hirshhorn Museum, Washington, DC, 8 October

– 3 January, www.hirshhorn.si.edu).

Anne Truitt (hirshhorn Museum, Washington, DC, 8 October – 3 January, www.hirshhorn.si.edu) . 36 ArtReview

Sophie Calle, Neue Wache, from Die Entfernung - The Detachment, 1996, Sammlung Ringier, Switzerland, © VBK, Vienna, 2009

DISPATCHES, 1996, Sammlung Ringier, Switzerland, © VBK, Vienna, 2009 New York For all the hopes that , 1996, Sammlung Ringier, Switzerland, © VBK, Vienna, 2009 New York For all the hopes that

New York

For all the hopes that this past year would bring us change we could believe in, events suggest that America is not a nation ready for the drastically new. Take healthcare reform: the President came into office promising national coverage but delegated the nitty-gritty to the House and Senate. Oops. Over the summer the Republicans floated horror stories of death panels and mandated euthanasia, and independent voters, on whom Obama’s victory last November hinged, bought the bull. Barack’s poll numbers plunged while the Republicans’ rose. Things are so screwy that many suspected Obama’s pep talk to schoolchildren on the first day of term was a veiled socialist plot. Health reform may still succeed, but how much can really change when many don’t recall that the socialist threat crumbled with the Berlin Wall? On the economic front, unemployment may be over 10 percent, unofficially, but Wall Street indexes have been on the rise, and compensation in the financial sector remains strong, led by the $100 million or so Citibank (in which taxpayers have a large stake) owe its trader Andy Hall. That’s a bit of a political hot potato, but as for meaningful change, seems governments on both sides of the Atlantic have joined banks in pressuring the accounting industry to back off efforts to mandate stricter financial oversight. As for the green shoots predicted for an artworld suddenly freed from the corrupting influence of cash, the last year proved that downsizing is just the flip side of what we’ve been through; an obsession with money’s presence has become a fixation on its lack. As most smaller dealers struggled to stay open, flush players made acquisitions, much as stronger banks picked off weaker competitors. Larry Gagosian, for example, opened a new space in Athens and a street-level store on tony Madison Avenue. Matthew Marks inaugurated the season with a show of Vincent Fecteau, who used to show at Feature, a vibrant if laissez-faire gallery that shuttered last spring. What can we expect when the Guggenheim – which should know better after years of expansion for expansion’s sake – hosts Rob Pruitt’s First Annual Art Awards (modelled on the Oscars) as a fundraising dinner? At best this stunt, which turns the popularity contest that is the market into a moneymaking performance, is an inside joke that says, ‘We know better, but since we do, why not do it anyway?’ It’s the usual wink and nod that still, it seems, calls the shots.

words JOShUA MACK

While artists like Donald Judd were ostensibly expunging personal references from their work, Truitt – who died in 2004 – spent decades intermingling Minimalism and the autobiographical in her colouristic abstract paintings and columnar geometric sculptures (not least in references to the architecture of her childhood), in a way that anticipates recent art’s programmatic

corruption of minimalist purities. And 1989:

End of History or Beginning of the Future? (Kunsthalle Wien, 9 October – 7 February, www.kunsthallewien.

at) at once rewinds two decades to reconsider ‘the metaphors connected with the collapse of the bipolar division of the world into East and West and the political upheaval, metaphors that are

East and West and the political upheaval, metaphors that are more than ever of relevance for

more than ever of relevance for a wide variety of different spheres of life’.

If that project sounds like it’s going to be on the academic side of serious (there’s an extensive sidebar of panel discussions and a ‘documentary presentation of the historical events’ to contend with), it also boasts a superb list of 37 artists, from Marina Abramovic to Lars Laumann to Jane & Louise Wilson, and a centrepiece reconstruction of Ilya & Emilia Kabakov’s massive labyrinth of Soviet bureaucratic offices, The Big Archive (1993).

In the same city, meanwhile, Marc Camille

Marc Camille Chaimowicz, For MvR, 2008 (installation view, Neue Nationalgalerie, Berlin, 2008). Photo: Uwe Walter

Chaimowicz (Secession, vienna, 20 November – 24 January, www.secession.at) demonstrates why

his obliquely dandyish work – which since the early 1970s has encoded and referenced cultural histories, moved presciently between furnished environment and performance, and latterly morphed into a kind of expanded still life – has become such a touchstone for younger artists: a voice from the past, relevant again in the present, shaping the future.

the past, relevant again in the present, shaping the future. Berlin Die Kunst ist super! (‘The

Berlin

Die Kunst ist super! (‘The art is super!’) is the title of the current rehang in Berlin’s Hamburger Bahnhof, and what sounds like an ironic marketing slogan is actually true. The art is great. It has been a considerable wait since Udo Kittelmann took over as the new director of the National Gallery, of which the Hamburger Bahnhof is the contemporary-art branch. An installation by Janet Cardiff & George Bures Miller aside, not much happened for almost half a year. The roof of the main hall underwent some repairs, and all the rooms had to be painted; yet the biggest reason for the temporary closure seems to have been that much of this year’s budget was spent in the previous one. However, Kittelmann and his team used the time well. Previously strict divisions between the different parts of the collection are resolved, with the Hamburger Bahnhof’s own acquisitions now displayed together with the distinctive collections of Friedrich Christian Flick, Erich Marx and Egidio Marzona. Scientific models, historic plaster casts of Michelangelo sculptures and documentary films supplement and reference the displays, establishing ideas beyond the gallery space and asserting a relevance for art beyond its own history. The main station hall, which since the foundation of the museum had housed iconic sculptures by Anselm Kiefer, Richard Long and Mario Merz, is now almost empty. In one corner stands Robert Kuśmirowski’s Wagon (2006), a lifesize replica of a Second World War railway car, bearing a variety of historic and local references; in the other is an installation by Roman Ondák, It Will All turnout right in the end (2005–6), a model of Tate Modern’s Turbine Hall in a box; and somewhere in between, Marcel Duchamp’s 1913 roue de bicyclette (Bicycle Wheel). It makes for a great space, as well as a rich visual essay about representation and display. Kittelmann’s strength is that he is a natural storyteller. He places the works in relation to each other and develops an environment for exploration, at all levels. The audience’s excitement is almost tangible. Kittelmann’s opening show of Thomas Demand’s work at the Neue Nationalgalerie across town equally takes the entire building and its history and turns it into part of the exhibition. The stories that Demand relates in his photographs of paper models of historic locations are placed in a real space with its own historic identity. The setting, by architects Caruso St John, with grey and green curtains and fake cardboard walls, is itself a sculptural installation. Berlin has been missing a credible museum that leads and forms a background against which the smaller institutions, the private collections, the galleries and the artists’ spaces can act out their programmes, and which they supplement. Udo Kittelmann seems to have turned the National Gallery around so that it can do just that.

words AxeL LAPP

London caLLingFear oF PhotograPhs Paranoia about who’s out there looking at our pictures is changing how Fear oF PhotograPhs Paranoia about who’s out there looking at our pictures is changing how

Fear oF

PhotograPhs

Paranoia about who’s out there looking at our pictures is changing how we’re looking at them, too

at our pictures is changing how we’re looking at them, too In September , clothing company

In September, clothing company American Apparel was

the notion that there are malevolent spectators out there,

censured by the UK’s Advertising Standards Authority (ASA) for an advertisement it ran in the urban style magazine Vice. the photo sequence, of a twenty-three-year-old model in a fleece hooded top, followed the brand’s current taste for styling its shoots with the kind of eroticised, private-camera informality that exists somewhere between ‘arty’ photographers such as Corinne Day and ryan mcGinley, and the more straightforward raunch of erotica or ‘soft porn’. the ASA banned the ad. the ban was issued on the grounds that ‘the ad could be seen to sexualise a model who appeared to be a child’, in a ruling

looking to exploit the images the rest of us make and exhibit, has started to feed back into the everyday uses of photography, especially photography in public. A new report by UK think tank the manifesto Club (of which I’m a member), Policing the Public Gaze: The Assault on Citizen Photography, details the absurd expansion of petty regulations, codes of conduct and the police’s regular misuse of antiterrorist legislation to restrict and control the use of public photography by us, the public. What is striking about the many instances cited is their common mistrust of the intentions of the photographer: if you’re taking

issued in response to a single complaint. Although its ruling

a

picture of kids (even your own), you must be a paedophile;

admitted that the target readership of Vice was unlikely to be

if

you’re taking pictures of official buildings, or commercial

offended by the ad, the ASA concluded that the ad contravened its code prohibiting anything that would be ‘likely to cause serious or widespread offence’. Assuming that many thousands of Vice readers were not offended enough to complain, we can only wonder how the ASA came to its decision. the issue of images that ‘sexualise’ children is fraught in today’s paedophile-panic culture. but rather than responding to any genuinely public concern, the ASA’s ruling seems to be in thrall to the more general and poisonous hysteria that now affects the taking and publishing of photographs. It’s as if, in today’s nervous climate, there are types of images that cannot be ‘let out’, not because of their content or what we make of

premises, you must be a terrorist. In the fevered imaginings of official culture, the public has ulterior motives, and those motives must always be suspicious in some way. In other words, museums, curators, artists, art-college academics, journalists, the general public and, yes, purveyors of brightly coloured spandex leggings, now exist in a culture in which the worst motives are assumed of everybody. Some people are fighting back: the campaign group I’m a photographer, not a terrorist! has started organising flashmobs in which people turn up at a public location and start, well, taking pictures of everything. this widespread paranoia exists at a time when the production and circulation of images, through the proliferation

and circulation of images, through the proliferation w o r d s J.J. Charlesworth them, but

words J.J. Charlesworth

them, but because of a pervasive anxiety about an unspecified malevolent spectator, out there, who might be looking. Over the summer, it was announced that three French curators, Stéphanie moisdon, marie-Laure bernadac and Henry-Claude Cousseau, would be prosecuted for an exhibition they organised back in 2000. In August, it was reported that a photography student at east Surrey College made a complaint against a lecturer who had recommended that she look at images of work by the well-known transgender artist Del LaGrace Volcano. the lecturer now faces misconduct proceedings. In all of these, the default assumption seems to be that we are either vulnerable to the abusive intentions of others, or potential abusers ourselves.

of camera phones and the Internet, have created a technological alternative to the traditional public sphere; through its lack of regulation, the ‘digital commons’ causes further panic among those authorities whose impulse is to monitor and surveil. If nothing else, the Internet has become the perfect embodiment of the shady, faceless world of the terrorist and the abuser. both the real and the virtual public sphere are now redefined by the cultural institutionalisation of mistrust – mistrust of the public by the authorities, but more corrosively, mistrust of other people, and even of ourselves. Unless we start to challenge this culture of mistrust, the cultural, artistic and democratic value of photography, and our freedom to circulate them, will succumb to a new culture built solely on the fear of images…

ART. DESIGN. EDITIONS.

ART. DESIGN. EDITIONS. left (above): LUMAS Limited Edition by Larry Yust, 41.9 x 180 cm /

left (above): LUMAS Limited Edition by Larry Yust, 41.9 x 180 cm / 16.5 x 70.9 inch, signed, £380 / $930 (mounting optional) left (below): LUMAS Limited Edition by Larry Yust, 36.4 x 180 cm / 14.3 x 70.9 inch, signed, £360 / $890 (mounting optional) right: LUMAS Limited Edition by Joerg Maxzin, 100 x 67 cm / 39.4 x 26.4 inch, signed, £270 / $660 (mounting optional) Objects by MOROSO. Swivel armchair and foot stool "Fjord", Design by Patricia Urquiola.

Created by art collectors, brought to life by 120 renowned artists and promising talents from major academies, LUMAS is passionate about offering you original, inspiring art in affordable editions.

NEW YORK SoHo — 77 Wooster Street BERLIN. PARIS. ZURICH.

WWW.LUMAS.COM

WWW.LUMAS.CO.UK

from left: John Baldessari, God Nose, 1965, oil on canvas, 173 x 145 cm, © the artist, private collection; Nairy Baghramian, Butcher, Barber & Angler, 2009, sketch for upcoming installation at Studio Voltaire, London

top fivesketch for upcoming installation at Studio Voltaire, London What to see this month by poLLy stapLe sketch for upcoming installation at Studio Voltaire, London What to see this month by poLLy stapLe

What to see this month by

poLLy

stapLe

Director, Chisenhale Gallery, London

2 heaD WiG

(Portrait of an Exhibition):

Selected by Paulina Olowska Camden Arts Centre, London 25 September – 29 November) www.camdenartscentre.org

Camden’s artist-curated shows

are among the best things they

do. Paulina Olowska is a great choice, and her show sounds elegant and bonkers at

the

same time, an interesting

mix

of well-known and not

so well known artists:

Mathilde Rosier, Cathy Wilkes, Jakub Julian Ziółkowski, Cindy Sherman, Catherine Sullivan. The common theme is
Mathilde Rosier, Cathy Wilkes,
Jakub Julian Ziółkowski,
Cindy Sherman, Catherine
Sullivan. The common theme
is ‘perceptual ambiguity’:
if you know Olowska’s work,
the
show makes sense through
that context. When you’re
curating a group show with
a big institution, you’re
often asked to be very clear
about your reasons for making
the
show, whereas when artists
curate, particularly at
Camden, they’re given licence.
If regular curators could work
that way, I think you’d see
some more interesting shows.
3
bonnie campLin
SAS
Michael Benevento, Los Angeles
5 November – 23 December
www.beneventolosangeles.com

1 LonDon

We seem to have a plethora of critically interesting retrospectives and group shows in London this season. I’m a fan of Ed Ruscha (Hayward, 14 October

– 10 January), and the show should be great for the

venue’s spaces. Pop Life (Tate Modern, 1 October

– 17 January) seems to be relating American Pop and

YBA; also, the apparent focus on artists such as Keith Haring and Cosey Fanni Tutti suggests they’re aiming to rewrite some narratives. John Baldessari

(Tate Modern, 13 October – 10 January): an artist’s artist. Comparing him and Ruscha, two Californians, and the New York-heavy Pop Life against Gustav Metzger (Serpentine, 29 September – 8 November), you can start an analysis of what was happening between the US and UK from the 1960s onwards. Then there’s Sophie Calle (Whitechapel, 16 October

– 3 January). (The Tate, Hayward and Serpentine

shows have three men; and the Whitechapel, thankfully, seem to be giving a lot of big shows to women.) If I saw this lineup and wasn’t living in London, I’d definitely think: that’s worth a trip.

42 ArtReview

Michael Benevento often takes risks picking up European artists who are not so well

known in the US, and seemingly

has a real commitment to them.

This, British artist Bonnie

Camplin’s first US solo show, consists of drawings and sculpture, and apparently all develops from one drawing, a strange picture of a market scene with a lover’s tryst, framed by cherries. Camplin’s

now really developing her own

moment. She often works with video and performance, and uses sound and music in quite uncategorisable ways. She’s always testing the form; and while her peers have had very successful careers, she’s been quietly influential on a new generation.

4 nairy baGhramian

Studio Voltaire, London

19 November – 19 December

www.studiovoltaire.org

Studio Voltaire are running

a great programme under

tight circumstances. Nairy Baghramian is on a residency there at the moment: I first saw her work in Berlin about three years ago, some peculiar photos and concrete objects, then a piece at Munster Sculpture Project that I really liked for its bluntness. It was a screen placed in a car park, suggesting some kind of division between public and private space, and questioning the significances we project onto objects. A writer might be described as having an odd turn of phrase; Baghramian has the equivalent in sculpture.

turn of phrase; Baghramian has the equivalent in sculpture. 5 Lecture performances Kunstverein Cologne 24 October

5 Lecture

performances

Kunstverein Cologne

24 October – 20 December

www.koelnischerkunstverein.de

I’m sure that this project

– which involves Fia

Backström, Robert Morris and Martha Rosler, among others

– came out of the Kunstverein Cologne’s exhibitions with

Mark Leckey and Seth Price.

I think the curators are

interested in looking at the history of this format, researching precedents and asking what happens when an artist veers off from an academic assessment, and a lecture becomes performative in a different way.

Ronald Versloot

PAINTINGS 14. NOVEMBER - 20. DECEMBER 09

g

a

l

l

e

r

i

s e Norway
s
e
Norway

Kalfarveien 74 B, 5018 Bergen,

/

admin@galleri-se.no / www.galleri-se.no

+ 47 55 31 57 55

+ 47 958 53 680

Interactive Institute’s Ramia Mazé demonstrates the Energy Curtain. Photo: Carl Dahlstedt.

deSigndemonstrates the Energy Curtain. Photo: Carl Dahlstedt. When Tom Dixon Tells of his foray into the demonstrates the Energy Curtain. Photo: Carl Dahlstedt. When Tom Dixon Tells of his foray into the

When Tom Dixon Tells of his foray into the world of sex toys, he makes a striking point about the role design can play in a market. seven years ago the British designer was approached by the founders of the myla boudoir shops. They dumped a crate of nasty plastic vibrators on his habitat desk and asked him to come up with an alternative. his input brought extraordinary added value – the average vibrator in the box retailed at £20; Dixon’s design, Bone, goes for about £200. To Dixon the message is clear: if you’re looking for the next big thing, don’t design chairs; fulfil a desire that is not yet satisfied. Today the market for designer vibrators is so well served that it’s only a matter of time before iKeA starts knocking out a budget version (cue jokes about products that need to be erected at home); so where can design add value now? The industry is structured in a way that hardly encourages independent designers to search for new needs. most of the producers dominating the domestic sector commission a repetitive range of objects – chairs, tables, sofas – for a market so saturated that the only way to add value is through celebrity, luxury or editions. What would be required for a freelance design studio to investigate coming consumer needs in an informed way? “Trendspotting and future forecasting are tools for economics and marketing”, laments Ramia mazé of the interactive institute. “The idea of designing with statistics is relatively new.” mazé explains that at the more progressive end of the electrical and electronics industries, design departments are already engaged in contemplating the social impact of their work and developing future strategies as well as aesthetics. But for small independent studios, the advantage of accessing economic data and thinking futuristically will not be evident until the producers they serve demand and support it. The interactive institute is a research facility, based (of course) in sweden, which for the last decade has brought together designers, artists and the iT industry to work out how

The Swede

hereafTer

A Scandinavian design studio second-guesses the future

A Scandinavian design studio second-guesses the future words Hettie JudaH to kick-start this demand. They produce
A Scandinavian design studio second-guesses the future words Hettie JudaH to kick-start this demand. They produce

words Hettie JudaH

to kick-start this demand. They produce visions of the future and thought-provoking exhibits for an audience of consumers, government agencies, industry, city planners and institutions. i saw their touring show, Visual Voltage (which, following stops in shanghai, Washington, DC, and Brussels, is now in Berlin), in a less-than-receptive state of mind; the ubiquity of the swedish vision as code for all things wholesome and progressive was starting to grate. After a visit to london, in which the whole city seemed to be iKeA-branded, right down to the tube maps, i had greeted news that the flat-packers might become the only company to take on Russian corruption and win with a huffy shrug; iKeA vs. the Bratva had a certain Alien vs. Predator quality to it, i felt. Visual Voltage is a group of objects from research projects exploring energy consumption, designed to provoke more considered behaviour. in my swede-sensitised state, my radar was up for any hint of smug didacticism, and it didn’t disappoint;

design-world-darlings Front worked with the institute in 2004; their Flower lamp blooms for a well-behaved household but closes as consumption increases. There was an electric cable

that glows as use augments, and photosensitive blinds that only collect energy if closed during daylight. i tsk-ed delightedly

at the absence of any product that might have offered a more

practical solution to energy reduction than merely making consumers feel guilty.

Chatting with mazé and her colleague magnus Jonsson ten days later, i felt chastised at my churlish response to the show: precisely because the institute doesn’t work towards products, its employees have an astonishingly free remit. Using

a combination of creative, technical, scientific, political and

economic thought, they investigate subjects with no idea of what

they might end up with: one research strand has studied how changing the balance of sounds in a truck cab can influence road safety, another uses pervasive gaming to encourage teenagers

to think about the environment. Forget Alien vs. Predator – for

a glimpse of sparks flying, try design vs. economics; even in the future, it seems, we’ll still desire the swedish vision.

New Art Dealers Alliance

New Art Dealers Alliance OPENING PREVIEW thursday december 3, 10am – 2pm daily admission is free
New Art Dealers Alliance OPENING PREVIEW thursday december 3, 10am – 2pm daily admission is free
New Art Dealers Alliance OPENING PREVIEW thursday december 3, 10am – 2pm daily admission is free
New Art Dealers Alliance OPENING PREVIEW thursday december 3, 10am – 2pm daily admission is free
New Art Dealers Alliance OPENING PREVIEW thursday december 3, 10am – 2pm daily admission is free
New Art Dealers Alliance OPENING PREVIEW thursday december 3, 10am – 2pm daily admission is free

OPENING PREVIEW thursday december 3, 10am – 2pm

daily admission is free and open to the public

10am – 2pm daily admission is free and open to the public AUStrALiA Neon Parc Melbourne

AUStrALiA Neon Parc Melbourne

CANAdA Parisian Laundry Montreal

FrANCe Galerie Carlos Cardenas Paris Galerie Laurent Godin Paris Galerie Hussenot Paris

GerMANY ANDREAS GRIMM MUNCHEN Munich Galerie Christian Lethert Cologne Galerie Rupert Pfab dusseldorf Pool Gallery Berlin Jacky Strenz Frankfurt

ireLANd Mother’s Tankstation dublin

itALY 1/9 Unosunove Arte Contemporanea rome

JAPAN ARATANIURANO tokyo MISAKO & ROSEN tokyo Take Ninagawa tokyo

MexiCo Charro Negro Guadalajara

PUerto riCo

356 San Juan

SPAiN Galeria Marta Cervera Madrid

SwitzerLANd Evergreene Geneva Faye Fleming/Arquebuse Geneva Claudia Groeflin Galerie zurich Anne Mosseri-Marlio Galerie zurich Rotwand zurich

the NetherLANdS Galerie West the hague Mart House Gallery Amsterdam

UNited KiNGdoM Josh Lilley London Museum 52 London/NewYork Workplace Gateshead

USA Altman Siegel Gallery San Francisco AMBACH & RICE Seattle ATM Gallery NewYork Baer Ridgway Exhibitions San Francisco Nicelle Beauchene Gallery NewYork Josée Bienvenu Gallery NewYork Blackston Gallery NewYork Collette Blanchard Gallery NewYork The Box Los Angeles Shane Campbell Gallery Chicago David Castillo Gallery Miami Cerealart Philadelphia Charest-Weinberg Miami John Connelly Presents NewYork Lisa Cooley NewYork Country Club Cincinnati Eleven Rivington NewYork Derek Eller Gallery NewYork Thomas Erben Gallery NewYork Forever & Today, Inc. NewYork Francois Ghebaly Los Angeles Thierry Goldberg NewYork Kavi Gupta Chicago Jack Hanley Gallery San Francisco Invisible-Exports NewYork Johansson Projects San Francisco The Journal Gallery Brooklyn Klaus Von Nichtssagend Gallery Brooklyn Leo Koenig Inc. NewYork Kim Light/Light Box Los Angeles Karyn Lovegrove Gallery Los Angeles La MaMa La Galleria NewYork LaMontagne/Zevitas Gallery Boston moniquemeloche Chicago On Stellar Rays NewYork Rental NewYork Renwick Gallery NewYork

Silverman Gallery San Francisco Simon Preston NewYork Small A Projects NewYork Thomas Solomon Gallery Los Angeles Stephan Stoyanov Gallery NewYork SUNDAY LES NewYork Twenty Twenty Projects Miami

Kate Werble Gallery NewYork

Western Exhibitions Chicago White Columns NewYork Y Gallery Queens ZieherSmith NewYork

Consumed The pick of this month’s offerings from shops, galleries and museums. Words LAURA ALLSOP,

Consumed

The pick of this month’s offerings from shops, galleries and museums. Words LAURA ALLSOP, CLAIRE ALLIOT-SOTO, ALExANDER SPRINGER

01 £25 $85
01
£25
$85

01

02
02

03

02 £450–£1,000
02
£450–£1,000
04 $295
04
$295

04

Critic and artist Peter Suchin has produced, for new London editions shop Kaleid, a limited-edition boxset containing ten printed reproductions of

Photographs by actor, collector and artist Dennis Hopper have been collated for a new publication from Taschen. Entitled Dennis Hopper:

Coinciding with Ron Arad’s late-summer/early-autumn show No Discipline at MoMA, the museum’s gift shop has stocked some signature pieces by the

Visionaire’s 2010 calendar is electronic and coincides with Smart’s first electric car, celebrating the beginning of what Visionaire posits is

index cards he has doodled and scribbled on. As part of an ongoing interest in recording incidental thoughts and perceptions, Suchin has been making meticulous notes for more than 20 years. Peter Suchin: Index, Scribble, Snapshot, Tract contains reproductions of the cards along with essays by

Photographs 1961–1967, it includes photographs of contemporaries ranging from Andy Warhol to Paul Newman and documents the easy freedom of West Coast living during the 1960s. The book comes in two editions, one limited to 100 and including a signed print of Hopper’s photograph Biker Couple

prolific designer. Whether it’s smart kitchenware at affordable prices or classic furniture designs such as the curvilinear moulded polyethylene Little Albert Chair, a miniature version of the designer’s temperature-sensitive Well Tempered Chair or even a wearable accessory in the form of the designer’s

the ‘decade of electric mobility’. High hopes aside, the calendar is a phenomenal repository of contemporary art, with 52 curators (ranging from Klaus Biesenbach to Hans Ulrich Obrist) choosing seven artists each to fill the days. It’s a who’s who of contemporary art: Bruce Nauman, Marina Abramovic,

Michael Hampton and Suchin

(1961-9).

signature Cappello hat

Keren Cytter, Glenn Ligon

himself.

www.taschen.com

(pictured), MoMA’s got it.

and 361 others.

www.kaleideditions.com

www.moma.org

www.visionaireworld.com

2009

september 2010

5

january

10

monica bonvicini_tom burr_mircea cantor_gardar eide einarsson_ fei_douglas gordon_shilpa olafur eliasson_simon
monica bonvicini_tom
burr_mircea cantor_gardar
eide einarsson_
fei_douglas gordon_shilpa
olafur eliasson_simon
evans_cao
gupta_
natascha sadr haghighian_rafael
emily jacir_matthew day jackson_michel majerus_corey mccorkle_
lozano-hemmer_elliott hundley_
aernout mik_sebastian
diaz morales_simon dybbroe møller_adrian paci_
pipilotti rist_chiharu
shiota_superflex_sissel tolaas_
pipilotti rist_chiharu shiota_superflex_sissel tolaas_ contemporary art museum of modern art With support from
contemporary art museum of modern art
contemporary art
museum
of modern art

With support from

contemporary art museum of modern art With support from Sponsor of Louisiana Contemporary Sponsor for Louisiana

Sponsor of Louisiana Contemporary

Sponsor for Louisiana Museum of Modern Art 2009

Contemporary Sponsor for Louisiana Museum of Modern Art 2009 Sponsor of architectural exhibitions at Louisiana supports

Sponsor of architectural exhibitions at Louisiana

Art 2009 Sponsor of architectural exhibitions at Louisiana supports Louisiana Live Adrian Paci. Per Speculum, 2006

supports Louisiana Live

Adrian Paci. Per Speculum, 2006 (film still). Color Film, 6:45 minutes. Courtesy Peter Blum Gallery, New York; Galleria Francesca Kaufmann, Milan; Galerie Peter Kilchmann, Zürich.

www.louisiana.dk

Consumed05 £100 07 $48 05 05 Artist Rosalind Nashashibi has created a limited- edition print 05 £100 07 $48 05 05 Artist Rosalind Nashashibi has created a limited- edition print

05 £100
05
£100
07 $48 05
07
$48
05

05

Artist Rosalind Nashashibi has created a limited- edition print to accompany her solo show at the ICA,

London. The print, entitled 8 O’Clock Metamorphosis, is

a silkscreen reproduction

of an image from her installation In Rehearsal (2009), collaged onto the replica of a page

from a book on African art. Via numerous images and

a soundtrack, 8 O’Clock

Metamorphosis documents the preparation of an opera, and the edition features what look like studious stage technicians hard at work.

www.ica.org.uk

48 ArtReview

06

The Irish Museum of Modern Art (IMMA) is launching a series of limited-edition prints to coincide with its exhibition Traces, a celebration of its… limited

editions. Isaac Julien (his work pictured), Michael Craig-Martin, Alex Katz, Elizabeth Peyton and many others have contributed, while recent additions to the series include works by

Louis le Brocquy, Patrick Scott and Camille Souter. The 31 screenprints, etchings, lithographs and cibachromes were donated to benefit IMMA’s exhibition and education programmes.

www.imma.ie

06 €900
06
€900
08 $19.95
08
$19.95

07

Tote bags are increasingly the carrier of choice for heavy catalogues at art fairs and biennials. Artist Marilyn Minter has teamed up with boutique designers Intermix to create a limited-edition variety to benefit breast cancer charity Bright Pink. A still from Minter’s Green Pink Caviar (an eight- minute film-riot of female mouths devouring cakes, released earlier this year and featured in Madonna’s recent tour, no less) will feature on the bag.

www.foryourart.com

08

New York art agency Creative Time – responsible for projecting Doug Aitken’s Sleepwalkers (2007) on MoMA’s walls and, this past summer, turning former army base Governors Island into a contemporary- art trove – have teamed up with sportswear brand American Apparel to create a pair of limited-edition short shorts with ‘Creative Time’ emblazoned on the rear. All proceeds will go towards supporting Creative Time’s future public art projects.

http://creativetime.org

WILLEM BAARS PROJECTS Tonight Nothing oil on canvas 180 x 250 cm 2009 MORGAN BETZ

WILLEMBAARS PROJECTS Tonight Nothing oil on canvas 180 x 250 cm 2009 MORGAN BETZ 8

BAARSWILLEM PROJECTS Tonight Nothing oil on canvas 180 x 250 cm 2009 MORGAN BETZ 8 -

PROJECTSWILLEM BAARS Tonight Nothing oil on canvas 180 x 250 cm 2009 MORGAN BETZ 8 -

Tonight Nothing oil on canvas 180 x 250 cm 2009

MORGAN BETZ

8 - 22 november 2009

Henri Polaklaan 12A 1018 CS Amsterdam tel +31 204230607 cel +31 655300765 www.baarsprojects.com info@baarsprojects.com

Art|Basel|Miami Beach

3–6|Dec|09

Vernissage | December 2, 2009 | by invitation only Catalog order: Tel. +49 711 44 05 204, Fax +49 711 44 05 220, www.artbook.com

The International Art Show – La Exposición Internacional de Arte Art Basel Miami Beach, MCH Swiss Exhibition (Basel) Ltd., CH-4005 Basel Fax +41 58 206 31 32, miamibeach@artbasel.com, www.artbasel.com

Beach, MCH Swiss Exhibition (Basel) Ltd., CH-4005 Basel Fax +41 58 206 31 32, miamibeach@artbasel.com, www.artbasel.com

u

Evgeny Yufit, Transparent Grove , 1992 Letter from the IsLand serp, e vgeny yuf It,

Evgeny Yufit, Transparent Grove, 1992

Letter from the IsLand

serp, e vgeny yuf It, vL ad Im Ir Kustov

8 October 2009 – 22 December 2009

It, vL ad Im Ir Kustov 8 October 2009 – 22 December 2009 7 Howick Place,

7 Howick Place, London SW1P 1BB

020 7630 9585

www.orelart.com

Jean-Antoine Watteau, L’Enseigne de Gersaint, 1721, oil on canvas, 163 x 306 cm. Photo: Jörg P. Anders. bpk / Schloss Charlottenburg, Stiftung Preußische Schlösser und Gärten

AN ORAL HISTORY OF WESTERN ARTCharlottenburg, Stiftung Preußische Schlösser und Gärten In this ongoing series, the real people who created the Charlottenburg, Stiftung Preußische Schlösser und Gärten In this ongoing series, the real people who created the

In this ongoing series, the real people who created the historic styles give their eyewitness testimony

NO 12:

WATTEAU

styles give their eyewitness testimony NO 12: WATTEAU Jean-Antoine Watteau (1684–1721) was a French painter who

Jean-Antoine Watteau (1684–1721) was a French painter who invented the genre of the fête galante: scenes of beautiful light-filled bucolic charm, suffused with an air of theatricality.

beautiful light-filled bucolic charm, suffused with an air of theatricality. 52 ArtReview interview by matthew collings

52 ArtReview

interview by matthew collings

Art r eview How are you?

wAtte Au Very ill.

A r

Ah yes, the consumption. You died from it when you were only thirty-seven. But you did a good painting before you went: gersaint’s shopsign (1721). Tell me about that work.

w Well, as the title says, it’s a sign. This guy Gersaint had a shop selling pictures on a bridge in Paris and he commissioned the sign from me. It’s oil on wood and very big – two panels joined together to make one six-foot-wide expanse. The picture is a double illusion: a view onto a scene that leads onto another scene. You’re standing outside on the bridge; you can see the cobbles at the bottom of the picture. But it’s as if the facade is removed and there’s the whole interior exposed. What you see in there is a metaphor for the artworld, which is revealed to be full of vanity and commercialism. The scenes and objects in the shop spell out a story of shallowness. A woman looks in a mirror instead of looking at art. An ignorant man has his face right up against a canvas in order to see some sexy nudes at the bottom of the picture; he doesn’t know you should look at the picture as a whole, not just the sensational stuff. You should take in the composition, the relationship of figures to landscape and so on. The gallery guys encourage these people, because they want to flatter them into parting with their cash. A portrait of the king lies in a packing crate on the floor: nobility brought low. A dog yaps: pointless noise.

A r

Fantastic, you’ve really got an imagination. It’s beautifully painted, I notice. The lovely silvery colour and the masterful touch: I pity the poor readers of artReview, who’ve only got the reproduction to go on, with all its crudeness.

w Yes, you get a very one-dimensional sense of art with reproductions, the literal narrative, not the subtlety of the painting – which is actually very important with this particular work, because beauty redeems squalor. The scene is one thing, the brushstrokes and composition another.

A r

What about all your other stuff ? Aristocrats going off

on escapist trips to pleasure islands for love and music

– what’s all that about?

w They are scenes painted for the newly wealthy who want

a vision of aristocracy to hang on their walls, so they can

fantasise deliciously about what it must be like to be born noble, to live a life of refined happiness. Music and love, picnics with beautiful people in beautiful surroundings, a moment of pleasure suspended forever – that’s the subject matter. The class aspect is of a certain interest in your time, but then there’s the beauty of the paintings. This aspect, the true interior life of art, is not so much separated from the subject as intertwined with it, so it’s possible to experience the painting as a set of echoes or rhymes, with the structure constantly changing. You come in at one point and feel the correspondences in a certain way,

and you can get lost in that. But then you might come in somewhere else and it’s a different trip. These metaphors of being lost in a pleasurable rather than alarming way, and of going on a journey, are important both to the subject and the content.

Ar

Gosh, that’s a lovely way of putting it. How do you feel about Damien Hirst having his paintings at London’s Wallace Collection, where a lot of your stuff is kept? He did the paintings himself, without assistants.

w

I

think there’s something clever about him installing the

workinaplacewhereeverythingrevolvesaroundpatronage (the power-people who commissioned masterpieces in the Titian era, and then, from my time onwards, the new- money people who took over the task of nurturing great art). Having done the sale of the century on the night of the big world-market crash, in 2008, the proposal that he is now painting his own paintings makes sense, because it tells us that he’s still telling a story about money. He shows us that having understood conspicuous consumption he now also understands reining in: even though it has changed dramatically, he continues to understand the sensibility of the moment.

Ar

Those pictures look like they were fun to do, but not much effort went into them, as opposed to calculation about what buttons to press to sell an idea. Laughable signs of greatness include pseudoscientific diagrams à la Leonardo and an all-blue palette à la Picasso c. 1903. Altogether they make up a sort of joke on profundity, like the Tories in the 1980s enacting a joke on poshness.

how do you feel about Damien hirst having his paintings at london’s wallace collection, where a lot of your stuff is kept? he did the paintings himself, without assistants

w

They do in fact fit very well with the vibe of the Wallace Collection. It’s not the gallery’s awesome art that they complement but its creepy heritage-site ambience. He

uses the Wallace Collection environment as a background for his new products, as if he’s designing a display event in

a

1980s shop window.

Ar

The PR for the show quotes his own words, that the pictures are ‘deeply connected to the past’. It goes on to say that he has ‘opted to present these works in a classical context, surrounded by Old Master paintings in the great

AN ORAL HISTORY OF WESTERN ARTEuropean tradition’. Obviously if an artist feels his stuff is deeply connected to the past, European tradition’. Obviously if an artist feels his stuff is deeply connected to the past,

European tradition’. Obviously if an artist feels his stuff is deeply connected to the past, then it’s only right that it should be hung side by side with Rembrandt.

w But if the paintings aren’t much good, and the context is bogus, and the press release megabogus, that doesn’t mean Hirst is nothing. In fact it is possible to see this forthcoming show not as a load of rubbish, or at least not as that alone, but rather as the latest step in a consistent strategy – one in which ‘rubbish’ is more a problem for uptight purists (who eat themselves alive each day with envious hostility anyway) than normal people.

A r

In Charles Saatchi’s recent book, Hirst is linked to Andy Warhol and Donald Judd, as well as Jackson Pollock. Saatchi says that it is only these four names that the future will recognise as anything more than footnotes.

w From a painting like Pollock’s lavender mist (1950) to a painting like, say, Warhol’s mustard Race Riot (1963), it might seem there’s a big jump, and to Hirst’s current ‘blue period’ concoctions, that’s a jump again. And in between are alltheUntitledsbyJudd,variouslymono-andmultichrome. I do think it’s worth considering this mad rainbow alliance, however. Pollock is the odd man out, because although he simplifies, he isn’t really a minimalist, whereas the others pretty much are. Pollock is a refined sensualist who is misunderstood as a shock-tactics sensationalist. His paintings depend on a quivering sort of life that the canvas has, the way the paint soaks in, the way each mark hits that surface in a particular way, the way the surface breathes. He makes touch crucial. What is important with the other three is not a sensitive surface but a concept worked out in advance and executed remotely. (With the new paintings, Hirst does the work himself, but he’s really just being his own assistant for strategic reasons.)

A r

Warhol certainly has a good design sense. But ultimately it is a sort of pseudophilosophy that counts with him, and his visual sense is not really any more marvellous than that of any other designer.

w Yes. Warhol is good at all sorts of things, but willing to be a bit average too, if it pays, just as Judd often was (the problem of appreciating Judd is more complicated than just the inaccessibility of Judd exhibitions in which the appropriate conditions prevail: in the last years of his life, as he rode the 1980s art boom, he churned out a lot of below-average stuff, just for money).

A r

Hmm. A look of blankness links Warhol, Judd and Hirst. But it is a misconception to think of Minimalism’s blankness as actually blank. When art has great proportions, colour, shape, delineation and impact, etc, to see it is to be emotionally lifted.

54 ArtReview

hirst does the work himself for strategic reasons. he shows us that having understood conspicuous consumption he also understands reining in

w Exactly, Matthew – so, between the late 1980s and early 90s Hirst’s imagery was even more literalist than Warhol’s. His dead shark more emphatically embodies the concept ‘death’ than a photo of dead people under a crashed car that is silk-screened repeatedly over a field of flat colour. That would be a small achievement except that, because of its minimalist presentation, Hirst’s shark has an infinite capacity for metaphor. The glassy tank, the flatness, the feel of a sort of ritzy glow surrounding death, the very reflections in the glass, not to mention the fascination of the physical being of the shark, its jaws and eyes and flaking pale grey hide: all contribute to a compelling visual event. We want to stare, and our thoughts race.

A r

w

But as art goes a bit more popular, Hirst goes kitsch to fit with the alteration in art’s mood.

You can see the Hirst story as depressing or exhilarating, depending on the perspective you take. Warhol’s sense of the philosophy of the object, even if the philosophy doesn’t translate into anything impressive once you remove the framework of the object, and Judd’s sense of the thing not being the thing, but the combination of the thing and the space around it being the real thing: they both resonate in Hirst. But at the same time he is independent. His influence is society. His art of the late 1980s and early 90s was a brilliant crystallisation (in the form of art) of the way in which consumer objects were sold in the 80s. Display was everything in that decade, and with these early works he is the king of display. By the time of his Gagosian New York shows, Hirst had reached a high point: a great giddiness of surfaces. But even though the objects and narratives have been on a steady slide downhill ever since, the essential creative originality is still there. To see this involves seeing him as most of society actually does see him, as the artist of what really counts in your times: money.

next month: hogarth revs up art with stimulating scenes of raddled tarts

of what really counts in your times: money. next month: hogarth revs up art with stimulating
1989 End of History or Beginning of the Future? Comments on a Paradigm Shift 10|09|09
1989 End of History or Beginning of the Future? Comments on a Paradigm Shift 10|09|09
1989 End of History or Beginning of the Future? Comments on a Paradigm Shift 10|09|09
1989 End of History or Beginning of the Future? Comments on a Paradigm Shift 10|09|09
1989 End of History or Beginning of the Future? Comments on a Paradigm Shift 10|09|09
1989 End of History or Beginning of the Future? Comments on a Paradigm Shift 10|09|09
1989 End of History or Beginning of the Future? Comments on a Paradigm Shift 10|09|09
1989 End of History or Beginning of the Future? Comments on a Paradigm Shift 10|09|09
1989 End of History or Beginning of the Future? Comments on a Paradigm Shift 10|09|09
1989 End of History or Beginning of the Future? Comments on a Paradigm Shift 10|09|09
1989 End of History or Beginning of the Future? Comments on a Paradigm Shift 10|09|09
1989 End of History or Beginning of the Future? Comments on a Paradigm Shift 10|09|09
1989 End of History or Beginning of the Future? Comments on a Paradigm Shift 10|09|09
1989 End of History or Beginning of the Future? Comments on a Paradigm Shift 10|09|09
1989 End of History or Beginning of the Future? Comments on a Paradigm Shift 10|09|09
1989 End of History or Beginning of the Future? Comments on a Paradigm Shift 10|09|09
1989
End of History or
Beginning of the Future?
Comments on a Paradigm Shift
10|09|09 – 07|02|10
Museumsplatz 1, A-1070 Vienna Daily 10 am – 7 pm, Thu 10 am – 10 pm
Info +43-1-52189-33 | www.kunsthallewien.at
Marcel Odenbach, Still from: Niemand ist mehr dort, wo er anfing, 1989/90 Courtesy of the Artist and Galerie Crone, Berlin
GABRIELE SCHOR ABIGAIL SOLOMON-GODEAU BIRGIT JÜRGENSSEN VERBUND sammlung VERBUND
GABRIELE SCHOR
ABIGAIL SOLOMON-GODEAU
BIRGIT
JÜRGENSSEN
VERBUND
sammlung
VERBUND

BIRGIT JÜRGENSSEN First Monograph & Exhibition

Austrian artist Birgit Jürgenssen (1949–2003) was one of the most outstanding feminist avant-garde artists. Initiated by the Sammlung Verbund, the first monograph of the artist will be published in November 2009 by Hatje Cantz.

Birgit Jürgenssen Monograph

Eds. Gabriele Schor, Abigail Solomon-Godeau With texts by Elisabeth Bronfen, Sigrid Schade, Gabriele Schor, Abigail Solomon-Godeau, Geraldine Spiekermann et al. The book will be published in German and English.

Birgit Jürgenssen Exhibition

The publication is accompanied by an exhibition of some 50 of the artist’s works from the Sammlung Verbund which can be seen in the Vertical Gallery in the Verbund headquarters in Vienna. 25 November 2009 – 10 March 2010, registration necessary: sammlung.verbund@artphalanx.at

www.sammlung.verbund.at

Vienna. 25 November 2009 – 10 March 2010, registration necessary: sammlung.verbund@artphalanx.at www.sammlung.verbund.at
British Council Collection My Yard Whitechapel Gallery 2 October Selected by artists Whitechapel Gallery Jeremy
British Council Collection
My Yard
Whitechapel Gallery
2
October
Selected by artists
Whitechapel Gallery
Jeremy Deller and
77–82 Whitechapel
Alan Kane.
6
December 2009
High Street
London E1 7QX
Aldgate East
Supported by:
Admission free
whitechapelgallery.org
Paul Noble Villa Carl, 1997, pencil on paper. © The Artist.
East Supported by: Admission free whitechapelgallery.org Paul Noble Villa Carl, 1997, pencil on paper. © The
PA NDOR A’ S SOUND BOX Curated by Lara Pan MICHAEL AERTS, DAVIDE BERTOCCHI, PIERRE
PA NDOR A’ S SOUND BOX
Curated by Lara Pan
MICHAEL AERTS, DAVIDE BERTOCCHI, PIERRE BISMUTH, OLAF BREUNING,
DIANGO HERNANDEZ, AGNIESZKA KURANT, MATTHIEU LAURETTE,
ROBERT LAZZARINI, OSWALDO MACIA, TANJA OSTOJIC,
VADIM VOSTERS, CARLO ZANNI
2-22 November 2009
Wed - Sun 11am-7pm
White Bo x, 329 Br oome Street, New Yo rk , NY, 10002 US A
Federico Luger
http://www.performa-arts.org/
http://www.whiteboxny.org/
Special thanks to:
Coma Gallery
http://www.whiteboxny.org/ Special thanks to: Coma Gallery MADDER 139 HAS NOW MOVED TO No.1 Vyner Street London

MADDER 139

HAS NOW MOVED TO

No.1 Vyner Street London E2 9DG

NESSIE STONEBRIDGE

Postures of Delirium

9 October - 22 November 2009

Tel: + 44 20 8980 9154

www.madder139.com

info@madder139.com

3 December 2009 - 6 February 2010 Cast Alfred MolinA, eddie redMAyne Director MichAel GrAndAGe
3 December 2009 - 6 February 2010 Cast Alfred MolinA, eddie redMAyne Director MichAel GrAndAGe
3 December 2009 - 6 February 2010
Cast Alfred MolinA, eddie redMAyne
Director MichAel GrAndAGe
Box office 0844 871 7624
principAl sponsor
www.donmarwarehouse.com
Earlham STrEET, SEvEn dialS, london wc2
EVA ROTHSCHILD COLD CORNERS 2009, TATE BRITAIN © EVA ROTHSCHILD PHOTO: CHARLIE CRANE
EVA ROTHSCHILD COLD CORNERS 2009,
TATE BRITAIN © EVA ROTHSCHILD
PHOTO: CHARLIE CRANE

YOUSSEF NABIL

october 17 - december 15, 2009 opening saturday, october 17, 6 p.m. book available

text by Pier Luigi Tazzi

Galleria Poggiali e Forconi, Firenze

www.poggialieforconi.it info@poggialieforconi.it

Manifesto

by NIGEL COOKE

For this year’s Power 100 issue we asked painter Nigel Cooke to produce a series of works responding to the theme of ‘power’ in a much- changed artworld.

Manchester-born and Canterbury-based, Cooke paints scenes of disaffection and urban decay. Hammer House of Horror motifs, graffiti and other assorted pop-culture detritus litter his works, which resemble the pages of an outsize graphic novel. Cooke’s take on the artworld has always been questioning, peripheral: in his recent series New Accursed Art Club, which was shown at Stuart Shave/Modern Art in 2008, he depicts a cowed and self-doubting group of figures taken to signify the wider art community. For this issue he has created our cover and five other works, typically bleak yet beautiful and perhaps even redeeming takes on what power might mean in an artworld wondering what to do in the face of economic uncertainty.

Cooke completed a PhD in fine art at Goldsmiths College in 2004, and that year was given a solo show in Tate Britain’s Art Now space. Alongside exhibiting with Stuart Shave/Modern Art, he has had solo shows at the Moderna Museet, Stockholm, the South London Gallery and New York’s Andrea Rosen Gallery. His work is also featured in collections including those of Tate, London, MOCA, Los Angeles, the Guggenheim, New York, and the Dakis Joannou Collection Foundation, in Athens.

 

4 September – 17 October

 

Paolo Piscitelli

Work

 

23 October – 28 November

 

nicholas nixon Vincenzo castella

About Town

 

4 December – 22 January 2010

 

25 or 30 years Gallery

Part I

 

foAm, Amsterdam

 

4 September – 22 November 2009

charlotte dumas

 

Paradis

Galerie Paul andriesse

[Detroit Building]

NL-1019 HE Amsterdam

Withoedenveem 8 T +31 20 623 62 37

info@paulandriesse.nl

www.galeries.nl/andriesse

62 37 info@paulandriesse.nl www.galeries.nl/andriesse CONVERSATIONS WITH THE OTHER SIDE BEN JUDD & SIDSEL
CONVERSATIONS WITH THE OTHER SIDE BEN JUDD & SIDSEL CHRISTENSEN “Today we’re going to go
CONVERSATIONS
WITH THE OTHER SIDE
BEN JUDD & SIDSEL CHRISTENSEN
“Today we’re going to go further!”
7 pm Thursday 29th October
The David Roberts Art Foundation
111 Gt Titchfield St, London W1
Tel: 020 7637 0868 www.davidrobertsartfoundation.com

aaron young SEMPEr IDEM

october 20, december 17, 2009

aaron young — SEMPEr IDEM october 20, december 17, 2009 20 rue de l’Abbaye, 1050 brussels

20 rue de l’Abbaye, 1050 brussels t +32 (0)2 648 56 84 contact.brussels@alminerech.com www.alminerech.com

In association with ArtReview 73

In association with

In association with ArtReview 73
In association with ArtReview 73

the power 100

Introduction

the power 100 Introduction The usual tactic when introducing a list such as this one is

The usual tactic when introducing a list such as this one is to offer your excuses (for any perceived errors or slights caused by the ranking process) in a statement pointing out that all such rankings are to a certain degree subjective. With the Power 100, however, this (the subjectivity of it) is especially true. Unlike other art ranking lists, we do not attempt to judge artists by their market worth, dealers by their total sales or curators by the number and quality of reviews they get or the volume of people who visit their shows. Instead, for the last four years, the selection of the Power 100 has been based on four basic categories: having an influence on the kind of art that’s being produced today; having influence on a global rather than a local scale; having actually done something during the past 12 months; and having some influence over the market for art. This year, reflecting more general trends and the fact that art that can survive without wheelbarrows of cash is probably going to be the most enduring right now, this last factor was given less weighting than the others. Excuses aside, the Power 100 is an attempt to map out the general trends and forces that shape the world of contemporary art, and importantly, to give them a degree of transparency that they would not normally have. The Power 100 is decided by a panel of international experts comprising ArtReview’s editors and contributors, and an increasingly large number of artworld insiders who prefer, for obvious professional and social reasons, to remain anonymous. Without any doubt, this year saw the most disagreements as to the composition of the top ten, and to the identity of the number one in particular. The general consensus was that, while museums rather than commercial galleries are in a better position to show new and challenging work today, there was no one individual who could be said to be shaping the face of the artworld right now. After much debate, it was decided that perhaps it’s an approach rather than a person that’s shaping the postrecession artworld. In general the list reflects the rise of flexible networks and freewheeling curators with definite agendas to set in play over individuals or static large-scale institutions. There are two important groups who, as in previous years, are excluded from the list:

art advisors and art magazines. The first are omitted because of the difficulty of distinguishing whether power lies with a collector or with the network that influences the collector, the second because we would have to work out where we stand on or off the list. There are some administrative changes, too – museums are represented by their directors only. Where the panel felt that other people in large institutions should be acknowledged, they are listed in side panels. The museum entries on the list, however, represent the achievements of the institution as a whole rather then the person named on the list. ArtReview has partnered with Ruinart, a key supporter of the contemporary artworld, on the 2009 Power 100 list. Ruinart’s other partnerships include Maarten Baas, India Mahdavi and Patricia Urquiola.

Nigel Cooke The Inventory, 2009. Courtesy Stuart Shave/Modern Art, London

74 ArtReview

the power 100

Hans Ulrich Obrist Category: Curator Nationality: Swiss Last Year: 35
Hans Ulrich Obrist
Category: Curator
Nationality: Swiss
Last Year: 35

Anyone can do a lot; not everyone can do a lot and consistently do it well. Even fewer can keep doing it well, year upon year; and of those who can, nobody does more, better, than Hans Ulrich Obrist. When the Swiss dynamo issued a six- point curatorial statement relating to his Beijing Mini-Marathon in December 2008, the first point was: ‘Don’t stop. We never stop’. It’s clearly the ubiquitous curator’s axiom, and Obrist’s third year of juggling a full quota of freelance work with his job as co-director of exhibitions (to abbreviate his extensive title) at the Serpentine Gallery found him continuing at full, burnout-defying speed. In the London institution, working alongside Julia Peyton-Jones, he helped shape a diverse programme of solo shows ranging from glossy (Jeff Koons) to oblique (Rebecca Warren), from old (Gustav Metzger, b. 1926) to young (Luke Fowler, b. 1978), and continued his mission to introduce the West to the East via December’s lively group show, Indian Highway – mounted shortly after Obrist jetted back from the East himself, having cocurated the 3rd Yokohama Triennial. Then, from highways to Unbuilt Roads, this being the title of his springtime exhibition dedicated to 107 artists’ unfinished projects (an Obrist obsession) at e-flux’s project space in New York. Enough? No. Add the publication of Obrist’s illuminating interviews books, A Brief History of Curating and On Curating; the acclaimed restaging of his and Philippe Parreno’s ‘time-based exhibition’, Il Tempo del Postino (2007), at Art Basel. Factor in Daniel Birnbaum’s Venice Biennale, whose concerns with networks and globalism strongly reflected an ongoing dialogue with Obrist. Add the lectures, the predawn Starbucks seminars (aka the Brutally Early Club), the panel discussions, the – wait, can I have another 250 words, please?

Nigel Cooke The Reflection, 2009. Courtesy Stuart Shave/Modern Art, London

the power 100

photo of Glenn D. Lowry: Timothy Greenfield-Sanders

2
2

Glenn D. Lowry

Category: Museum Director Nationality: American Last Year: 3 (with Associate Director Kathy Halbreich as the entry)

As The New York Times critic Holland Cotter has pointed out, in periods of market excess, museums appear to have an excruciatingly slow time-lag. By the time art makes its way into museums, it has already been internationally preapproved, so to speak, by commercial galleries, fairs, sales. Not so now, with many New York galleries trotting out shows so safe they might as well be exhibited in padded cells. MoMA’s contemporary exhibitions take on extra significance in such times, and this is exactly the kind of thing we’re expecting from Greater New York 2010, the next edition of an exhibition organised by P.S.1 and MoMA, and held every five years that surveys artists living and working in New York. With artists increasingly going their own way, and surviving the brave new world without the big sale, 2010, curated by Klaus Biesenbach, Connie Butler and Neville Wakefield, is looking more exciting than it frankly should. Lowry was revealed as one of the biggest earners in the US nonprofit arts sector last year (this after taking a voluntary 10 percent cut in his salary), but with the help of Kathy Halbreich (who in terms of the artworld is perhaps the real figurehead of New York’s premier institution and who appeared in Lowry’s stead in last year’s version of this list, in acknowledgement of her key role in the rebuilding of MoMA), he’s steering the MoMA ship in a positive direction: the exhibitions programme has benefited from an increased emphasis on performance, including a major Pipilotti Rist installation and performances from Yvonne Rainer, Roman Ondák and Mark Leckey, alongside the knockout shows we have come to expect, with Marina Abramović and Gabriel Orozco coming next year. Throw in their recent windfall, a surprise $10 million left in a donor’s will, and MoMA’s future, on the whole, is looking rosier than it should.

Nigel Cooke The Question, 2009. Courtesy Stuart Shave/Modern Art, London

78 ArtReview

2009. Courtesy Stuart Shave/Modern Art, London 78 ArtReview Museum of Modern Art Kathy Halbreich Associate Director

Museum of Modern Art

Kathy Halbreich

Associate Director

Halbreich came to MoMA from the Walker Art Center last year, to fill the newly created post of Associate Director, the understanding being that Glenn Lowry focuses on the money while she focuses on the art. As she takes MoMA into the twenty- first century, much is expected of her.

Ann Temkin

Chief Curator of Painting and Sculpture

Having joined MoMA in 2003, Ann Temkin stepped into what is for many people modern art’s most prestigious curating post last September, succeeding the venerable John Elderfield. ‘I plan to take a broader, more international view than we did in the past’, Temkin said back then. We’ll wait and see.

Connie Butler

Chief Curator of Drawings

After a decade at MOCA, Los Angeles, Butler moved east to MoMA in 2006. Having established a reputation for producing some of the most intellectually and visually stimulating shows in LA, Butler curated the hugely influential WACK! Art and the Feminist Revolution, which started at MOCA and has been touring ever since. This year she organised MoMA’s Paul Sietsema show.

Klaus Biesenbach

Curator, Department of New Media and Performance Art

Biesenbach’s remit at MoMA was spruced up this year when his became the Department of New Media and Performance Art. Biesenbach has become the specialist in time-based media of all sorts.

the power 100

photo of Sir Nicholas Serota: © Manuel Vason

the power 100 photo of Sir Nicholas Serota: © Manuel Vason 3 Sir Nicholas Serota Category:

3

Sir Nicholas Serota

Category: Museum Director Nationality: British Last Year: 4

Brrr, it’s tough out there, but the ever-affable Serota is coming out fighting for Tate. The Department for Culture, Media and Sport revealed a £100 million funding black hole for the arts in England in July that cash for Tate Modern’s £215 million extension has fallen face-first into. Who made that phone call? “Ermm… something to tell you… [mumbles].” At present Tate only have a third of the money, but Serota is upbeat about continuing to open for the London Olympics in 2012: ‘We are in discussion with a number of people who are more than capable of giving us the large gifts that we will require for this project’, he said recently. Still, put your best face on (again) for this year, Sir Nick, as chasing the money is sure to consume much of your time, what with the £45 million refurbishment of Tate Britain to fund too. All that said, Tate put on some huge exhibitions this year, including Rothko and Bacon blockbusters, and braver fare in Bourriaud’s Altermodern: Tate Triennial, Baldessari, Balka, a daring tackling of art market commercialism at an awkward moment in Pop Life and a staggeringly elegant Roni Horn retrospective. Tate Liverpool’s programme also looks more exciting by the day, with a recent Michael Landy vs. Jean Tinguely exhibition, and Nam June Paik in 2010, as does that of Tate St Ives since the appointment of Martin Clark. Though the shadow of the extension will loom large for the next few years, and a period of hard graft and uncertainty lies ahead, the benefits for London and the UK will be staggering if it can be pulled off.

Nigel Cooke The Spiral, 2009. Courtesy Stuart Shave/Modern Art, London

The Spiral , 2009. Courtesy Stuart Shave/Modern Art, London Tate Modern Sheena Wagstaff Chief Curator Wagstaff’s

Tate Modern

Sheena Wagstaff

Chief Curator

Wagstaff’s programming has been steady in the eight years she’s been chief curator. Solo exhibitions overseen by Wagstaff, of artists such as Louise Bourgeois, Juan Muñoz and Edward Hopper, have explored darker, surreal undercurrents in twentieth- century art. Next year will bring an anticipated retrospective of Francis Alÿs as well as the first Paul Gauguin exhibition in half a century.

Frances Morris

Head of Collections (International Art)

Morris’s approach to hanging Tate Modern thematically has changed the way it is seen. Dramatic juxtapositions are signatures of this approach to the collection, which has recently included a timely emphasis on Arte Povera. Alongside contemporary works, it’s been a record year for acquisitions at Tate, boosted by the d’Offay Artists Rooms donation, which inject some art with the power to bring out the brightest elements of Tate’s collection.

Jessica Morgan

Curator (Contemporary Art)

Morgan’s group shows Common Wealth (2003) and The World as a Stage (2007), which she cocurated, identified artistic concerns that have only seemed to grow in significance since. Dominique Gonzalez- Foerster’s Turbine Hall commission fell a little flat, but John Baldessari: Pure Beauty, curated by Morgan alongside LACMA’s Leslie Jones, should delight here and on its travels.

the power 100

photos: Giorgio Zucchiatti, courtesy Fondazione la Biennale di Venezia (4), Billy Farrell © Patrick McMullan, courtesy Gagosian Gallery, London (5)

‘Biennales’, Daniel Birnbaum told Art+Auction in June, ‘are not there to be loved. They are there to be discussed.’ Certainly the Swedish curator’s turn as artistic director of the Venice Biennale wasn’t universally adored. Some found Fare Mondi/Making Worlds muted, cerebral, overly reflexive (Diedrich Diederichsen, in Artforum, discerned riddling ‘Mr Spock art’); Marcus Verhagen, for ArtReview, conversely praised Birnbaum’s ‘cool and wary vision of modernity’. Commonly asserted, however, was that the biennial model as a whole needs overhauling, leaving Birnbaum – at forty-five, Venice’s youngest-ever director – looking relatively blameless. And an intellectual regime might have been expected from Birnbaum, who this year republished his 1992 work of gastronomic-melancholic theory, As a Weasel Sucks Eggs: An Essay on Melancholy and Cannibalism (coauthored with Anders Olsson). In the run-up to Venice, he’d also curated the Turin Triennial and cocurated the 3rd Yokohama Triennial, and remains director of the Städelschule in Frankfurt, curator of the institution’s Portikus gallery and a prolific critic. What Birnbaum knows about eggs, clearly, is that they’re best divided among several baskets.

4

is that they’re best divided among several baskets. 4 Daniel Birnbaum Category: Curator Nationality: Swedish Last

Daniel Birnbaum

Category: Curator Nationality: Swedish Last Year: 13

Category: Curator Nationality: Swedish Last Year: 13 Ah, Gogo. The man with the one true global

Ah, Gogo. The man with the one true global brand-name in luxury contemporary art has become so acclimated to the higher altitudes of this list that it seems he’s begun eschewing the oxygen of pure commerce for the kind of free climbing once reserved for those who trained in the rarified air of the world’s top museums. What the hell are we talking about? Why, Picasso, of course. For a little over two months last spring, at his no-longer-that-new 21st Street space in Chelsea, Gagosian mounted a museum-quality show of works centred on the Spanish master’s late mosqueteros, complete with holdings from the collection of Bernard Ruiz-Picasso, the Museo Picasso in Málaga, Spain (Picasso’s birthplace), and, of course, the Museum of Modern Art in New York. What’s more, the exhibition was curated by John Richardson, whose four-volume biography of the artist (the third volume was brought out in 2007, which means the Gagosian exhibition could only be fodder for the

fourth) promises to be the last word on the artist’s life and art, at least for a little while. The catalogue featured original research by younger Picasso scholars and newly translated texts related to the ageing minotaur’s later years. Oh, and Annabelle Selldorf

– crafter of Ronald Lauder’s Neue Galerie, David Zwirner’s house

architect, literally – did the exhibition design. Lest art get in the way of commerce (this is Gogo, remember), the gallery opened up

a storefront retail operation on Madison Avenue, which will sell

books, prints, limited editions, multiples and other items designed and authored by all those who bask in the light of Gagosian’s star (or shiver in his shadow).

5

Larry Gagosian

Category: Gallerist Nationality: American Last Year: 2

82 ArtReview

photos: © Luc Castel (6), visible behind Eli Broad: Andy Warhol, Self-Portrait, 1966, © The Andy Warhol Foundation for the Visual Arts, Inc, New York (7)

Warhol Foundation for the Visual Arts, Inc, New York (7) Category: Collector Nationality: French Last Year:

Category: Collector Nationality: French Last Year: 8

6

François Pinault

‘All too often, museum directors and curators are more interested in

what their peers think or collectors like myself think than educating

a diverse public’, Eli Broad told the Wall Street Journal earlier

this year. But his activities of the last 12 months might give a few clues as to why museum directors and curators all too often think the way they do. Together with his wife, Edythe, Broad operates

a foundation worth around $2.1 billion. The extension to the Los Angeles County Museum of Art (LACMA) opened in February 2008 bearing Broad’s name and funded by $60 million from the

foundation. Later in the year he pledged $30 million to bail out LA’s near-bankrupt Museum of Contemporary Art. ‘This is not a one- philanthropist town’, Broad wrote in an LA Times opinion piece, although you could be forgiven for thinking it is. Broad describes his activities as ‘venture philanthropy’, which might translate as ‘you don’t get something for nothing’. LACMA thought they were getting Broad’s very significant (although not particularly diverse: the Guerilla Girls point out that the foundation collection

– as opposed to Broad’s personal collection – contains work by 194

artists, 96 percent of them white and 83 percent male) art collection when they built the extension. A month before LACMA’s extension (which shows works from the collection) was inaugurated, Broad made it clear, in an interview in The New York Times, that this would not be the case. Some called it the worst PR disaster in LACMA’s history, others claimed that LACMA ‘got screwed’, but perhaps Christopher Knight got it right in the LA Times when he described Broad as ‘a hugely successful businessman who exchanges project involvement for near-absolute control’. Whatever you think about his motives and motivations, there’s no doubt that museums and curators in LA in particular (though there are a number of other museums bearing his name dotted around the US) will probably be most interested in what Broad thinks for some time to come.

This is Pinault’s eighth straight year at the top end of the Power 100, and in each of these, the soft-spoken, self-made tycoon has managed, in one way or another, to have a colossal impact on the arc of contemporary art. Whether buying and opening the Palazzo Grassi in Venice in 2006, upsetting the artworld with the purchase (through his auction house, Christie’s) and subsequent expansion from London and Zurich to Berlin and New York of the gallery Haunch of Venison in 2007 or partially bankrolling Koons’s occupation of the Château de Versailles in 2008, Pinault’s big-fish movements in the little pond of contemporary art are impossible to ignore. This last year was no exception, beginning with the Palazzo Grassi’s hosting of Italics, an unorthodox survey of Italian art from 1968 to 2008 curated by Francesco Bonami and featuring more than a hundred artists. The polemical exhibition sparked its fair share of controversy (for instance, Jannis Kounellis refused to participate because he thought it warped the history of Arte Povera) and cavalierly inconvenienced the history books. Meanwhile, after winning a bid on Venice’s Punta della Dogana in 2008 against the Guggenheim, Pinault had the seventeenth-century customs house restored and refurbished by Japanese starchitect Tadao Ando in 14 months. With great fanfare Pinault inaugurated this addition to his contemporary art empire during the opening of the biennial, with Mapping the Studio, curated by Bonami and Alison Gingeras. Although reviews of the show were certainly mixed, the utter magnificence of the third richest man in France’s gesture was, well, magnificent.

7

richest man in France’s gesture was, well, magnificent. 7 Eli Broad Category: Collector Nationality: American Last

Eli Broad

Category: Collector Nationality: American Last Year: 10

the power 100

the power 100 8 Anton Vidokle/e-flux, Julieta Aranda & Brian Kuan Wood Category: Website Nationality: Russian,

8

Anton Vidokle/e-flux, Julieta Aranda & Brian Kuan Wood

Category: Website Nationality: Russian, Mexican, American Last Year: Reentry (99 in 2004)

e-flux began in 1999 with an email announcement about a small exhibition in a Holiday Inn hotel room – a sort of prototypical

artist-runspace–inNewYork’sChinatown;by2002ithadbecome

the artworld’s central broadcasting network for everything and

anything related to the visual arts, and perhaps more importantly,

it had become economically self-sustaining. From this platform,

artist Anton Vidokle and various collaborators, in particular artist Julieta Aranda and writer Brian Kuan Wood, began a set of

projects related to their interests; now a decade on, and not exactly art collective (e-flux itself), nor school (unitednationsplaza; Night School), nor archive (e-flux video rental; Martha Rosler Library), nor activist group (The Next Documenta Should Be Curated By an Artist), but all of these things and none of them at once, Vidokle’s organisation has become the centre of a body of work – real work and artwork – at once avant-garde and possibly instrumental to the renewal of artistic practice as such. ‘Artists’ initiatives these days from the start mimic existing institutional and commercial structures: incorporate, establish

a board of directors, sell memberships, produce benefit auctions

and market editions, sell artworks, etc’, Vidokle told Hans Ulrich Obrist a couple of years ago. ‘To think that this has no effect on their programming or the content they generate would be naive. There is virtually no period of experimentation before this type of “normalised” behaviour sets in.’ The only cloud on the e-flux horizon is that for coming generations their behaviour, no matter how random and unpredictable, is now a kind of institution in its own right, and might, therefore, become the new norm.

Aftertwoyearsofbuilders,hardhatsandscaffolding,IwonaBlazwick can justifiably be proud of having masterminded the opening in April of the Whitechapel Gallery’s £13 million expansion (which

doubled the space of the original gallery), an occasion marked by

a cornucopia of new shows and commissions, including German

legend Isa Genzken and Turner Prize nominee Goshka Macuga. Indeed, under Blazwick, the gallery’s profile and programme have been significantly expanded in a manner that has propelled the institution to the centre (rather than the slightly-out-of-the-way

east-of-centre) of the London artworld: as well as running a series

of festivals, events and education programmes, the gallery launched

in September the inaugural London Art Book Fair (featuring 80 publishers). It continues to host the MaxMara Art Prize for women artists and, in an age when many similar galleries are courting publicity and popularity, to push an agenda promoting established and emerging female talent (the next round of exhibitions features leading French artist Sophie Calle and the considerably lesser known Inci Eviner). Onetime ICA director of exhibitions, then head of exhibitions and displays at the Tate, Blazwick is a shrewd power operator – she gave Damien Hirst his first major show and once declared that the Tate Modern Turbine Hall ‘was in fact just a rehearsal’ for her plans for the Whitechapel; last year she was appointed chair of the Mayor of London’s cultural strategy group. She also found time to be a juror for this year’s Carnegie Art Award and to lure curator Achim Borchardt-Hume from Tate. Meanwhile, and unsurprisingly, gossips tip her to succeed a previous Whitechapel director for the top job at Tate – when (or if) Sir Nick decides to step down.

84 ArtReview

9
9

Iwona Blazwick

Category: Museum Director Nationality: British Last Year: 76

photo: Carlos Basulado

photo: Carlos Basulado 10 Bruce Nauman Category: Artist Nationality: American Last Year: 45

10

Bruce Nauman

Category: Artist Nationality: American Last Year: 45

Themostimportantartistintheworld?Who’sarguing?Not,onewouldimagine,many people who saw Topological Gardens, Bruce Nauman’s stellar solo presentation in the American Pavilion and two off-site locations at Venice this year. Not the Biennale jury that consequently awarded him a Golden Lion to match the one he received in 1999. And, obviously, not us. You can take Nauman historically: he’s a pioneer of postmedium practice and expanded forms of sculpture; while exploring issues of communication and how meaning is conveyed, he’s displayed a haunting sensitivity to life’s dead ends, circularities and cruelties; he’s a longstanding ironist and wit whose classic 1967 neon text piece, The True Artist Helps the World By Revealing Mystic Truths, balances brilliantly on a knife-edge between sincerity and sarcasm. The list of people he’s influenced ranges from Mike Kelley to Rachel Whiteread to Tim Hawkinson. Yet his own art uncannily resists dating, and as he heads towards seventy, the man who lit out for the seclusion of a New Mexico ranch in the mid- 1980s is clearly not ready to be a historical figure. This year found Nauman marking the 40th anniversary of the moon landings by skywriting the phrase ‘Leave the earth alone’ above Pasadena: a statement that could refer to ecological concerns, the loneliness of an astronaut’s voyage into the ether or mortality, and whose ambiguity, subtlety and sadness are classic Nauman. ‘Check any of the top 100 or top 10 lists in the art glossies that track the ups and downs of artists’ popularity among collectors and institutions and you will find that name firmly positioned at or near the summit’, wrote Robert Storr this year. Well, this is the list, Mr Storr; but it’s wholly true about Nauman, and deservedly so.

but it’s wholly true about Nauman, and deservedly so. Pompidou Centre Christine Macel Chief Curator This

Pompidou Centre

Christine Macel

Chief Curator

This year Macel curated a Damián Ortega exhibition as well as the French arm of Philippe Parreno’s huge multivenue retrospective-in-motion, and also wields influence over the commercial galleries, via the selection board of FIAC art fair.

Camille Morineau

Curator

Made history this year with elles@ centrepompidou, a year of showing only female artists from the museum’s collection – proving that, unlike other museums, they have collected enough female artists to do so, but also weaving a dramatic alternative history.

Laurent Le Bon

Curator

Part of the curatorial team for Voids, this year’s challenging investigation into the art of nothing. Le Bon directs planning team for Pompidou’s first regional museum, Centre Pompidou-Metz, opening early next year.

Bernard Blistène

Director of Cultural Development

Currently overseeing the Pompidou’s first five-week new festival, responsible for taking the museum into new territories of performance, theatre, interaction and music, with contributions from Carsten Höller, Jorge Pardo, Elmgreen & Dragset, Tobias Rehberger and Ulla von Brandenburg.

the power 100

photos: Felix Clay, courtesy Hauser & Wirth, Zurich, London & New York (11), Grant Delin (12), Martin Schoeller (13), Johnnie Shand Kydd (14)

11

Iwan Wirth

Category: Gallerist Nationality: Swiss Last Year: 5

Still in his late thirties, Europe’s leading dealer can boast an international gallery empire: this September, he opened his first New York venue. Bad timing? Hauser & Wirth began in recession-struck 1992. As Wirth told Art+Auction in February: ‘Now is also a fantastic moment to expand.’ The Manhattan venue launched by remaking Allan Kaprow’s seminal 1961 environment Yard; simultaneously, Wirth keeps diversifying, signing up New Delhi-based Bharti Kher while representing both ninety-eight-year-old Louise Bourgeois and twenty-eight-year-old Jakub Julian Ziolkowski. ‘I am not afraid of the current difficult climate and actually think we are in a great position’, Wirth recently told ARTINFO. It’s hard to disagree.

Wirth recently told ARTINFO . It’s hard to disagree. 13 Jeff Koons Category: Artist Nationality: American
Wirth recently told ARTINFO . It’s hard to disagree. 13 Jeff Koons Category: Artist Nationality: American

13

Jeff Koons

Category: Artist Nationality: American Last Year: 11

Koons Category: Artist Nationality: American Last Year: 11 Who could fail to be surprised when watching

Who could fail to be surprised when watching Gus Van Sant’s tear-jerker Milk last year to find Jeff Koons sagely offering Sean Penn (as Harvey Milk) a bit of advice towards the beginning of

his political career? What rendered the scene surreal was not so much the incongruity of artistic intentions (Gus Van Sant and Koons?) as the hitherto unconsidered possibility of one of the most photographed faces in contemporary art successfully playing someone else. I say ‘successfully’ because any lingering doubts could

for the

money? If one were to judge by his ‘performance at auction’, Koons is doing alright. His Moustache (2003), which this year featured in his first-ever institutional show in London, at the Serpentine, sold for £1.1 million at Christie’s in June. One doubts that a turn to the silver screen has anything to do with issues of cash flow.

only be dispelled by end credits. Did he do it

of cash flow. only be dispelled by end credits. Did he do it 86 ArtReview 12

86 ArtReview

12

David Zwirner

Category: Gallerist Nationality: German Last Year: 7

‘I am a good salesman because I peddle good stuff.’ So said David Zwirner back in March. One can’t fault the man for straight talking. This past year saw Zwirner closing sales on $2 million paintings by Martin Kippenberger, $1m paintings by Neo Rauch (to Brad Pitt, no less) and nearly entire shows by Lisa Yuskavage. (One thing he supposedly couldn’t sell was a portrait of Bernie Madoff by Yan Pei-Ming; but we think he’s got balls for even trying.) In addition to the estates of Sandback, Taylor and Matta- Clark, Zwirner picked up those of Alice Neel and Dan Flavin. And to show all this ‘good stuff’? This autumn a new space, which will pick up Zwirner’s side of his now-closed partnership with Iwan Wirth (the new space is appropriately branded just Zwirner), opens across the street from the current gallery, on what we might as well call Zwirner St.

current gallery, on what we might as well call Zwirner St. 14 Jay Jopling Category: Gallerist

14

Jay Jopling

on what we might as well call Zwirner St. 14 Jay Jopling Category: Gallerist Nationality: British

Category: Gallerist Nationality: British Last Year: 6

Just a short fall for Jay Jopling this year. Given the numbers of galleries closing down or moving to cheaper digs, Jopling’s White Cube has weathered the recession pretty well, with the gallery represented at most major art fairs, and a string of solo shows over the last year by heavy-hitters and media- friendly artists (Georg Baselitz, Tracey Emin, Gilbert & George) as well as others by more recent additions to his stable (Rosson Crow, Zhang Huan). Being papped with singer Lily Allen after separating from artist wife Sam Taylor-Wood caused a bit of a media storm in the new year, but it’s since been business as usual for London’s premier blue-chipper.

photos: Michael Goodman (15), Timothy Greenfield-Sanders (16), Guillaume Ziccarelli, courtesy Galerie Emmanuel Perrotin, Paris (17), Pierre-Jean de San Bartolomé (18)

15

Marian Goodman

Category: Gallerist Nationality: American Last Year: 17

The always understated, ever-present and much- respected keeper of contemporary art’s precinct of high- seriousness, Marian Goodman weathered the economic tumult by watching her gallery’s artists rack up accolades for major institutional exhibitions. Steve McQueen’s Giardini reigned at the Venice Biennale: Jerry Saltz called the film ‘haunting’ and a ‘real Venetian death trip’. John Baldessari, whom Goodman scooped up only recently, is being honoured with a major exhibition at Tate Modern. Dan Graham got one that travelled from MOCA to the Whitney to the Walker, and Thomas Struth’s Old Master photographs found welcome walls at the Pulitzer in St Louis.

photographs found welcome walls at the Pulitzer in St Louis. 17 Takashi Murakami Category: Artist Nationality:

17

Takashi Murakami

walls at the Pulitzer in St Louis. 17 Takashi Murakami Category: Artist Nationality: Japanese Last Year:

Category: Artist Nationality: Japanese Last Year: 28

Along with running his production company, Kaikai Kiki, and his biannual art fair, GEISAI, the only artist to be a candidate on Time magazine’s 100 Most Influential People shortlist found a bit of time to churn out a few exhibitions in 2009. After a solo at London’s Gagosian, and another at Larry’s Chelsea digs in New York, Murakami geared up for yet one more at Emmanuel Perrotin in Paris (rumour had it that the whole show was sold out before it was even uncrated). It wasn’t the best auction year for the Japanese impresario – never mind his $2.6 million diamond-encrusted coup with Pharrell Williams at Art Basel this summer – but Murakami seems here to stay. Not least because, via his studio system and art fair, his influence is not limited to his artworks.

16

Agnes Gund

Category: Collector Nationality: American Last Year: 29

Glance over the list of donors to New York cultural organisations, major and minor, or follow the faces appearing in the society pages (at art events), and one name appears consistently. But Agnes Gund’s support, and her presence, reflect a commitment to the nation’s increasingly stressed institutions that goes beyond cheque writing and hobnobbing. She makes the connections that get things done, whether it’s the establishment of a programme to instruct museum directors in the increasingly critical business aspects of their jobs or the ongoing Studio in a School, founded by Gund in 1977, to bring artists into New York’spublicschools.Herefforts to keep art in the public dialogue continue to set the standard for committed engagement.

continue to set the standard for committed engagement. 18 Alfred Pacquement Category: Museum Director Nationality:
continue to set the standard for committed engagement. 18 Alfred Pacquement Category: Museum Director Nationality:

18

Alfred Pacquement

the standard for committed engagement. 18 Alfred Pacquement Category: Museum Director Nationality: French Last Year: 24

Category: Museum Director Nationality: French Last Year: 24

Director of the Pompidou since 2000, Pacquement’s current claim to fame has a lot to do with a (comparatively) modest plan to expand and decentralise the Pompidou and its collections. With plans in the offing to partner up with the Palais de Tokyo in order to host more midcareer solo surveys and create a mobile Pompidou around France, the most concrete fruit of these intentions to date is Pompidou-Metz. The centre, which was originally meant to open in 2007 for the 30th anniversary of the Pompidou, is a bit behind schedule but should be opening next year. In the meantime, under the aegis of Pacquement, the mothership continues to host provocative and much-discussed exhibitions, from Traces du sacré last year to Voids and elles@ centrepompidou, the latter consisting of a novel rehanging of the contemporary collection, exclusively featuring work by women artists.

, the latter consisting of a novel rehanging of the contemporary collection, exclusively featuring work by

the power 100

19

Peter Fischli & David Weiss

Category: Artists Nationality: Swiss Last Year: New

20

Mike Kelley

Category: Artist Nationality: American Last Year: 61

Opinion is remarkably undivided on Fischli/Weiss. They’re recognised masters of deadpan enquiry into the everyday, increasingly obviously so thanks to their retrospective Flowers & Questions, which toured institutions from 2006 to 2008. To follow, and mindful of a 2009 exhibition at Madrid’s Reina Sofía museum collating their ‘Rat and Bear’ works, the Swiss pair reanimated their tragicomic animal phenomenologists – who, in Part of a Film with Rat and Bear (2008), float hilariously and plaintively around Milan’s Palazzo Litta. If their animal avatars are lost in space, Fischli/ Weiss – who this year celebrate 30 years of working together – are as surefooted as ever.

30 years of working together – are as surefooted as ever. 21 Three decades into a

21

Three decades into a career known for dense multimedia installations articulating the anxieties deep within American culture, and with a profound pedagogical influence on recent art, Mike Kelley nevertheless remains a rogue, outsiderish presence. Projects like A Voyage of Growth and Discovery (2009), currently showing at Long Island’s SculptureCenter, don’t hurt:

it’s a six-channel, two-and-a- half-hour video collaboration with artist Michael Smith, narrating an oversize baby’s traumatic life. Kelley, as his work has long attested, was once a punk from Ann Arbor, Michigan; he still is, somehow, asafiftysomethingrepresented by Gagosian. Quite a feat.

asafiftysomethingrepresented by Gagosian. Quite a feat. 22 Barbara Gladstone Category: Gallerist Nationality:
asafiftysomethingrepresented by Gagosian. Quite a feat. 22 Barbara Gladstone Category: Gallerist Nationality:

22

Barbara Gladstone

Category: Gallerist Nationality: American Last Year: 26

Category: Gallerist Nationality: American Last Year: 26 It could have been a terrible year for gallerist

It could have been a terrible year for gallerist Barbara Gladstone:

she was named as a personal victim of Bernie Madoff ’s notorious Ponzi scheme. Thankfully, the pension she had with him for her employees was shut down in 2008, sparing the gallery the staff cuts that have affected so many others. With her spaces in New York and Brussels unaffected, she has mounted several impressive exhibitions this year, including those by big-hitters Matthew Barney and Thomas Hirschhorn, as well as more economically adventurous offerings, such as a show of comic-book art over the summer.

offerings, such as a show of comic-book art over the summer. 88 ArtReview Steven A. Cohen

88 ArtReview

Steven A. Cohen

Category: Collector Nationality: American Last Year: 12

In that part of the artworld where money talks and bullshit walks, Cohen, 87th on the Forbes 2009 list of billionaires (net worth $5.5 billion, down from a 2008 estimate of $8b), still dominates conversations. His acquisitions dazzle, both for quality and price, and all the more now that dosh has become a wee bit scarcer. Along with his collection, Cohen has picked up 5.9 percent of Sotheby’s common stock, and last spring the auction house mounted a show of 20 pieces from his private and rarely seen holdings. Works by Van Gogh, Modigliani, Matisse, Lucian Freud and Cindy Sherman suggested that there was more to Cohen’s hoard than sheer buying power and more to Sotheby’s than rank commerce. But the marriage ultimately indicated what cosy bedfellows art and commerce continue to make. For richer and for poorer, as the wedding vow states.

indicated what cosy bedfellows art and commerce continue to make. For richer and for poorer, as

Agnes Gund photographed by Juergen Teller, 11 September, New York

Kathy Halbreich photographed by Heinz Peter Knes, 15 September, New York

Glenn D. Lowry photographed by Heinz Peter Knes, 15 September, New York

Glenn D. Lowry photographed by Heinz Peter Knes, 15 September, New York

Eli Broad photographed by Michael Evanet, 10 September, Los Angeles

Eli Broad photographed by Michael Evanet, 10 September, Los Angeles

Iwan Wirth photographed by Robi Rodriguez, 16 September, London

John Baldessari photographed by Heinz Peter Knes, 17 September, New York

David Zwirner photographed by Juergen Teller, 11 September, New York

Iwona Blazwick photographed by Robi Rodriguez, 14 September, London

photo: © Dawoud Bey (background: © Sol LeWitt/Artists Rights Society (ARS), New York) (24)

23

Dominique Lévy & Robert Mnuchin

Category: Gallerists Nationality: American Last Year: 20

L&M propel the major deals in the US auctions. Love and money? No, it’s Lévy and Mnuchin of L&M Arts. Rulers of the New York secondary market, they are

moving forcefully into primary territory with the opening

of their LA gallery. Though delayed somewhat by permit

issues, it’s a big project (two linked ‘pavilions’ set in a 375-square-metre garden and comprising 110 square metres of exhibition space each). And it’s a showstopper of an opening for September 2010 – Paul McCarthy’s first exhibition in an LA gallery since 1998. McCarthy says he’s ‘pretty excited’. So are we.

1998. McCarthy says he’s ‘pretty excited’. So are we. 24 Adam D. Weinberg Category: Museum Director
1998. McCarthy says he’s ‘pretty excited’. So are we. 24 Adam D. Weinberg Category: Museum Director

24

Adam D. Weinberg

Category: Museum Director Nationality: American Last Year: 36 (with curator Donna De Salvo as the entry)

Last Year: 36 (with curator Donna De Salvo as the entry) Under the affable Weinberg’s six-year
Last Year: 36 (with curator Donna De Salvo as the entry) Under the affable Weinberg’s six-year

Under the affable Weinberg’s six-year watch the Whitney has continued to keep one foot firmly in the contemporary. The past year has seen exhibitions of Elad Lassry and Lucinda Childs and retrospectives of Dan Graham and

William Eggleston. For the 2010 biennial, the pairing of Francesco Bonami with young Whitney curator Gary Carrion-Murayari (responsible for last year’s punchy exhibition series Television Delivers People, which included artists such as Alex Bag and Keren Cytter) is

a canny one for a New York in which sales have not so

readily been propelling new artists into the foreground.

A twenty-first-century museum is also under way: Renzo

Piano’s designs for Whitney downtown, a 17,000-square- metre building in the Meatpacking District by High Line park, have just been revealed.

District by High Line park, have just been revealed. Whitney Museum of American Art Donna De

Whitney Museum of American Art

Donna De Salvo

Chief Curator and Associate Director of Programs

A guiding hand in most everything that is seen or heard (and sometimes smelled, touched and tasted) at the Whitney. This month brings Roni Horn aka Roni Horn, a survey of the artist’s work, which was organised by De Salvo along with Carter Foster, also of the Whitney, and Mark Godfrey of Tate Modern (De Salvo’s old stomping ground, and where the show ran from February through May). Exhibitions like these seem to be De Salvo’s bread and butter:

important works by important artists with important things to say.

Shamim M. Momin

Adjunct Curator

Cocurator of the 2004 and 2008 Whitney biennials, and director and curator of the Whitney branch at Altria from 2000 to 2008, Momin cofounded the Los Angeles Nomadic Division (LAND) this year. The nonprofit LAND, which she also directs, aims to meet the need for a public arts organisation in the city.

Chrissie Iles

Curator

Formerly director of the Museum of Modern Art, Oxford, and cocurator of the 2004 and 2006 Whitney biennials, as well as the Whitney’s current Dan Graham retrospective (which travelled from MOCA, LA). Iles’s interests in film, video and minimalist and process-based art of the 1960s and 70s are clearly reflected in the Whitney’s artistic policy.

the power 100

photos: Kerry Ryan McFate, courtesy PaceWildenstein, New York (25), Alia (28)

25

Marc Glimcher

Category: Gallerist Nationality: American Last Year: 22

No one was immune to the economic crisis, and PaceWildenstein, one of the largest, most professional and oft-envied galleries in New York, had to lay off 12 percent of its staff. Things are not all bad, though. Glimcher brokered what must be one of the artworld’s largest private sales: $310 million in Rothkos from the Merkin collection to an anonymous buyer. Sterling Ruby and David Hockney joined the gallery. Lucas Samaras represented Greece at the Venice Biennale. And Glimcher launched Artifex Press, a first- of-its-kind digital publishing platform for the production and distribution of catalogues raisonnés (Sol LeWitt, Agnes Martin and Chuck Close are in the lineup); oh, and Pace celebrates its 50th anniversary this spring.

oh, and Pace celebrates its 50th anniversary this spring. 26 Amy Cappellazzo & Brett Gorvy Category:
oh, and Pace celebrates its 50th anniversary this spring. 26 Amy Cappellazzo & Brett Gorvy Category:

26

Amy Cappellazzo & Brett Gorvy

Category: Auction House Nationality: British/American Last Year: 15

Gone are the guarantees. Well, not exactly. Some just won’t go away; like the one of $40 million for a Francis Bacon painting, on which Christie’s allegedly reneged when markets turned south last autumn (according to reports, Gorvy was one of the ‘big guns’ dispatched to secure the work in the first place). Nevertheless, last May’s Evening Sale for contemporary art reached close to $94 million. Though this was paltry compared to the $348.2 million pulled in the previous year, 50 of the 54 lots sold, which is something of a triumph in itself, and included records for David Hockney, Claes Oldenburg and Kerry James Marshall.

for David Hockney, Claes Oldenburg and Kerry James Marshall. 27 Cheyenne Westphal & Tobias Meyer Category:

27

Cheyenne Westphal & Tobias Meyer

Category: Auction House Nationality: German Last Year: 16

Responding to last year’s

drastic declines at the Sotheby’s Contemporary Art sales in New York in November, Tobias Meyer told one reporter that the ‘silly money’ was gone and that he was now actually a bit relieved to be auctioneering to a ‘responsible and intelligent

audience’. Um

Tobias? Even

the Russians? Regardless, it’s still trouble when even the auction houses are getting in on the economic-crisis-will-cleanse-the-artworld’s- soul shtick. Meyer and Westphal still muscle through, and anyone who can engineer the public sale of a Dan Colen for close to $400K must still have some kind of magic touch.

for close to $400K must still have some kind of magic touch. 28 Ann Philbin Category:

28

Ann Philbin

Category: Museum Director Nationality: American Last Year: 39

Museum Director Nationality: American Last Year: 39 Today there seem to be two players in the

Today there seem to be two players in the LA museum scene – Eli Broad, who rescued MOCA from fiscal disaster and built his own Renzo Piano- designed place – and Ann Philbin, who’s kept the Hammer Museum (which she directs) on course and ahead of the game. This year the Hammer mounted

a show of work by young LA sculptors – all donated by

savvy collectors Dean Valentine and Amy Adelson – and

a Charles Burchfield retrospective curated by Robert

Gober. Philbin also hired Douglas Fogle, curator of the last Carnegie International and a veteran of Kathy Halbreich’s reign at the Walker, ensuring that her institution remains innovative and fresh.

98 ArtReview

photo: Andrea Spotorno (31)

29

Matthew Higgs

Category: Curator Nationality: British Last Year: Reentry (81 in 2006)

When White Columns turned 40 this year, David Byrne and Cindy Sherman were among the birthday-party guests; an auction raised $300,000 for Manhattan’s oldest alternative art space. Matthew Higgs, director and chief curator, deserves credit: everyone respects

him, and given the prodigious number of variously punk- spirited and cross-generational shows the English ex- pat has put on since 2004, there’ve been opportunities aplenty to fail. Meanwhile, somehow, Higgs maintains

a parallel career as an artist,

exhibiting his droll, language- based conceptualism this year

his droll, language- based conceptualism this year at New York’s Murray Guy and in 2008 at

at

New York’s Murray Guy and

in

2008 at London’s Wilkinson.

We’ll have what he’s having.

at London’s Wilkinson. We’ll have what he’s having. 30 Matthew Marks Category: Gallerist Nationality: American

30

Matthew Marks

Category: Gallerist Nationality: American Last Year: 27

Some called it a response to the downward- spiralling economy, the fact that Matthew Marks was conspicuously absent from this year’s Armory Show (which, we seem destined to remind you in these pages, the dealer had a hand in beginning back in 1994, when it was the Gramercy International Contemporary Art Fair). But if you were paying attention, you would have noticed that in addition to impressive booths at Art Basel Miami Beach and the well-heeled Art Show, Marks did a turn at Design Miami. With a spare booth dedicated to the ‘domestic furniture’ of Roy McMakin, Marks demonstrated a flexibility that few gallerists would, or could, risk.

a flexibility that few gallerists would, or could, risk. 31 Tim Blum & Jeff Poe Category:

31

Tim Blum & Jeff Poe

Category: Gallerists Nationality: American Last Year: 48

It’s said of Larry Gagosian that he always expands in a recession. He’s not the only one. LA dealers Blum & Poe are moving into what will be one of the West Coast’s biggest commercial galleries, a 2,000-square-metre space on La Cienega Boulevard featuring three exhibition spaces and a 225-square-metre project space. Then again, Blum & Poe have been bucking trends for years, not least by being the first gallery to settle in the consequently booming Culver City area, in 2003. What’s collateralising the trade-up is their stellar list of artists, from blue- chip names like Keith Tyson and Takashi Murakami to current golden boy Mark Grotjahn and the increasingly ubiquitous Sharon Lockhart. Coming up on 15 years, theirs is a dealing team that knows about happy returns.

theirs is a dealing team that knows about happy returns. 32 Gavin Brown Category: Gallerist Nationality:

32

Gavin Brown

Category: Gallerist Nationality: British Last Year: 57

Brown Category: Gallerist Nationality: British Last Year: 57 The enterprising Mr Brown continued to walk a
Brown Category: Gallerist Nationality: British Last Year: 57 The enterprising Mr Brown continued to walk a

The enterprising Mr Brown continued to walk a fine line between commerciality and cool this year, his gallery alternating sprawling, funky installations ( Jo n a t h a n H o r o w i t z ’s celebratory, president-in- waiting-themed Obama 08 last October; January’s loose- limbed hipster group show The Living and the Dead) with solos by bankable daubers like Peter Doig and Verne Dawson. The rest of the roster didn’t disappoint either: with Mark Leckey scooping up the Turner Prize and Elizabeth Peyton doing weird collaborations with Matthew Barney, Brown appears to have his finger in the right pies and on the pulse.

the power 100

photos: Ari Marcopoulos (33), Timothy Greenfield-Sanders (35), Nicholas Samartis (36)

33

Ralph Rugoff

Category: Museum Director Nationality: American Last Year: 74

When Ralph Rugoff assumed the directorship of the Hayward Gallery in 2006, The Guardian – noting his playful experimentation during six years at CCA Wattis, in San Francisco – wagered that people would be queuing up ‘to be dangled upside down by their ankles’. Kinesthetic antics have, indeed, become the Hayward’s speciality. Last summer’s Walking in My Mind offered hallucinatory environments and a vast pornographic workshop. ‘Smart populism’ has remained the watch- word this year, via Andy Warhol and Ed Ruscha shows. With an upstairs Project Space deliver- ing the speedy counterpoint to weighty institutional shows, and presuming Rugoff and his cocurators can keep pleasing tourists and insiders, the Hayward’s future looks rosy.

tourists and insiders, the Hayward’s future looks rosy. 35 Anne Pasternak Category: Curator Nationality: American
tourists and insiders, the Hayward’s future looks rosy. 35 Anne Pasternak Category: Curator Nationality: American

35

Anne Pasternak

the Hayward’s future looks rosy. 35 Anne Pasternak Category: Curator Nationality: American Last Year: New

Category: Curator Nationality: American Last Year: New

Creative Time, the Public Art Fund’s edgier little sister, led by Anne Pasternak, have shown fearlessness in reacting to the current economic climate. This year they helped Jeremy Deller drag a burnt- out car wreck from Baghdad across America to start conversations about Iraq, and took on issues of social justice in a recent daylong summit of bright art minds. Their free university BHQFU, run with the Bruce High Quality Foundation, aspires to rip up the commercially influenced art-education book and rewrite it from scratch. And they have their own brand of tiny booty shorts. Looks like they are having a go at remaking the artworld.

Looks like they are having a go at remaking the artworld. 100 ArtReview 34 Liam Gillick

100 ArtReview

34

Liam Gillick

Category: Artist Nationality: British Last Year: 86

Having pulled off the tricky feat of being a British artist based in New York representing Germany at the Venice Biennale with a talking cat, Liam Gillick continues to be a reference point for critically complex, intellectually ambitious art. With his yearlong ‘retrospective’ concluding at the Museum of Contemporary Art, Chicago, an MIT book of essays by leading theorists devoted to his work, a solo show at the MAK in Vienna and architectural collaborations in Vancouver and Mexico, you’d think Gillick wouldn’t have any time to teach at Columbia, Bard College and Harvard. But he does.

to teach at Columbia, Bard College and Harvard. But he does. 36 Dakis Joannou Category: Collector

36

Dakis Joannou

Bard College and Harvard. But he does. 36 Dakis Joannou Category: Collector Nationality: Greek Last Year:

Category: Collector Nationality: Greek Last Year: 31

What Greek industrialist Dakis Joannou has done for contemporary art in Greece cannot be underestimated. Not just another big-game hunter who collects Koons, Hirst, Cattelan and Gupta, Joannou established the nonprofit Deste foundation in Athens in 1983, which hosts exhibitions of high international calibre, and inaugurated the Deste prize in 1999 – awarded biennially to a Greek artist living in Greece or abroad. After the 2008 unveiling of his headline- grabbing 35-metre yacht, Guilty, whose exterior was designed by Koons, 2009 seems to have been a comparatively quiet year for the billionaire. Still, his ongoing commitment to contemporary art should continue to be applauded.

photos: © 2007 Sidney B. Felsen (37), Wolfgang Tillmans, courtesy Galerie Daniel Buchholz, Cologne & Berlin (38), Mara McCarthy, courtesy the artist and Hauser & Wirth, Zurich, London & New York (39)

37

John Baldessari

Category: Artist Nationality: American Last Year: 88

It’s Baldessari Time: a Golden Lion for Lifetime Achievement at Venice, followed by John Baldessari:

Pure Beauty, a generous retrospective opening at Tate Modern this month. Wholly deserved (if belated; he’s seventy-eight), given that the Californian’s slyly comic conceptual strategies and legendary tutoring have inspired generations of artists. Baldessari’s last exhibition at Marian Goodman, in winter 2008, featured

a lot of furrowed eyebrows that, the artist suggested, said:

‘Aren’t we all worried?’ His own frown is, assumedly, now turned upside down.

His own frown is, assumedly, now turned upside down. 38 Isa Genzken Category: Artist Nationality: German

38

Isa Genzken

Category: Artist Nationality: German Last Year: New

Two years after representing Germany at the Venice Biennale with the exhibition Oil, Genzken received her first retrospective at London’s Whitechapel Gallery, a mammoth show that is currently touring to Museum Ludwig in Cologne. It is a timely look at the work of an artist whose influence is being found in many younger artists’ work, particularly those who share her interest in the ruins of material culture. With a four-decade career under her belt, as well as the International Art prize and Wolfgang-Hahn- Prize, Genzken’s place in the art firmament is secure.

Prize, Genzken’s place in the art firmament is secure. 39 Paul McCarthy Category: Artist Nationality: American
Prize, Genzken’s place in the art firmament is secure. 39 Paul McCarthy Category: Artist Nationality: American

39

Paul McCarthy

place in the art firmament is secure. 39 Paul McCarthy Category: Artist Nationality: American Last Year:

Category: Artist Nationality: American Last Year: 62

It’s been another good year for LA artist Paul McCarthy. Fresh from curating Part 2 of his Low Life Slow Life show at the CCA

Wattis, in San Francisco, which closed in May, he is due to open L&M Arts’s new LA gallery space with a show next September, currently has

a solo show at New York’s Hauser & Wirth following one

at the gallery’s Zurich space in the summer, and will have

a sculpture sit in Regent’s Park for six months following

Frieze Art Fair. Not bad going. Oh, and he somehow manages to fit in being professor emeritus in UCLA’s art department as well.

being professor emeritus in UCLA’s art department as well. 40 Michael Govan Category: Museum Director Nationality:

40

Michael Govan

in UCLA’s art department as well. 40 Michael Govan Category: Museum Director Nationality: American Last Year:

Category: Museum Director Nationality: American Last Year: 21

A stormy year for Govan,

beginning as he waded in with

an

unsuccessful merger offer

for

struggling MOCA. His own

institution, the Los Angeles County Museum of Art, was also straining financially, and thunder descended when Govan scrapped the museum’s long-running weekend film programme. Protests began, letters from luminaries such as Martin Scorsese flew in, urging that film be treated as an art; the programme has been temporarily reinstated. Some canny deaccessoning has given way to collection-strengthening acquisitions, however, and a clement spell may lie ahead, with a new sparky contemporary art curator in the shape of the Menil Collection’s Franklin Sirmans, and an injection of cash from the Getty Foundation to consider postwar LA art.

the power 100

photos: Mark Seliger, courtesy the artist and Metro Pictures, New York (42), Mauricio Donelli (44)

41

Eugenio López

Category: Collector Nationality: Mexican Last Year: Reentry (47 in 2007)