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Get your Jackson Pollock on.
We're house sitting in a place with a few extra bedrooms, Pablo Helguera and co. are great houseguests.
The School of Panamerican Unrest La Escuela Panamericana Del Desasoseigo
Put them up if they're in your town or join them, drivers wanted.
tom moody or kenny scharf on the wall / found on curbed. looks like a ks.
Still, Mr. McElheny's fascination is more with stories than with science. A second sculpture in the Rosen show, for example, is part of a continuing series based on a conversation that supposedly took place in 1929 between the Modernist sculptor Isamu Noguchi and the utopian architect and visionary Buckminster Fuller. Their exchange is believed to have posited that the only way to create an object that wouldn't cast a shadow was to make it totally reflective and place it in a totally reflective environment.
So for two of the works, Mr. McElheny built a wall-mounted landscape model in which abstract reflective forms are arranged on a mirrored plane. "It's really a horrible proposal," he said. "You couldn't live in this world. You couldn't escape your own reflection."
Mr. McElheny, who was born in Boston, became involved with glass in 1984, as a student at the Rhode Island School of Design. "I heard this story," he said, "that glass blowing came out of an oral tradition, and that this tradition was passed down from generation to generation. There was an aura of romance and secrecy about it. I wasn't interested in making glass so much as I was interested in this story."
In pursuit of what he felt was "exclusive knowledge, impossible to learn from a book," Mr. McElheny secured an apprenticeship with Ronald Wilkinson, then the head of the White Friars Factory in Britain. "It was a unique opportunity at a historical moment," he said, explaining that many of Europe's family-owned firms were soon to close.
It is easier for a pickled shark to pass through the eye of a needle than for a multimillionaire to make good art. This week it was revealed that Damien Hirst, at 40, is worth £100m, a stupendous figure unrivalled by any artist his age, ever, even allowing for inflation and the changing nature of wealth.
Andy Warhol may have been worth $228m when he died aged 59, but two decades earlier he was was spending money like water at his Factory studio. And although Salvador Dalí had already been nicknamed Avida Dollars in his 30s, his mysteriously vast fortune (the IRS never could quite fathom it) grew gradually. Hirst is richer than the two most notoriously money-obsessed modern artists at his age - will his decline be even more grotesque?