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Richard Pettibone
Leo Castelli
18 East 77th Street, Manhattan
Through Dec. 23
Richard Pettibone has forged a singularly interesting career by copying in miniature what other, more famous artists have done. Copying other people's art may not in itself be highly original, but Mr. Pettibone has done it with such finely tuned wit and tenderly fastidious craft that his work comes to seem extraordinarily personal.
This show of small paintings dating from 1964 to 2004 includes some surprises: the baseball card-size, Photo Realist portrait of Brian Wilson of the Beach Boys, for example, and multipanel works that combine handmade reproductions of well-known paintings, apparently original abstract painting and images from motorcycle and porn magazines. There are also recent mysteriously dark views of an indoor swimming pool.
Mr. Pettibone's engagement with famous artworks remains the most persuasive aspect of his enterprise. His loving, diminutive recreations of Marcel Duchamp's early Cubist masterpiece "La Marie," Frank Stella's black pinstripe paintings and Roy Lichtenstein's black-and-white image of a cigarette with a long ash balanced on a table edge are more than just Oedipal reductions of powerful father figures. They are meditations on the quasi-religious iconography of modern art history and, by extension, of modern consciousness.
Mr. Pettibone never loses his sense of humility or humor. Among several paintings featuring texts made of stick-on letters is one that reads, in part, "I saw the Borofsky show and I decided I should write more. I hope people don't think I'm copying him." KEN JOHNSON for the NYT 12/11/04
opening riffs
evusa
Oskar Leo Kaufmann prefab project
"The Landmarks Preservation Commission is an 11-member panel that oversees changes to the 23,000 buildings in New York City that are either individual landmarks or within one of the city's 82 historic districts. Since the commission designates, on average, 4 new districts and 12 individual landmarks each year, a growing number of residents are subject to its rules.
Whenever anyone wants to renovate, alter, demolish or build anew in or around a landmark or a building in a historic district, commission permission is required before a building permit can be issued. "We want people who live in these places to be able to meet our goal, which is the preservation of that property and of those resources, in as simple, seamless, effortless and intelligent a way possible," Mr. Tierney said."
"The Minimum Dwelling was a response both to the acute interwar housing shortages and to the Western European avant-garde’s attempt to solve this problem. While the focus of the treatise is in fact the minimum necessary habitation for the proletarian worker, Teige had opinions on the present and historical conditions of the city and worker’s housing, contemporary avant-garde architecture and urban design. The result of this breadth of interests is a model for socialist living that applies the principles of dialectical materialism to space in constructing a liberated socialist city. Tiege’s prescriptions range from the correct ordering of social institutions to specific technical data concerning site orientation and window type to use in a room. Despite its abundance of detail, The Minimum Dwelling is an engaging read, even for non-architects. Teige’s enthusiasm hooks the reader and enables even the most stalwart capitalist to take up Teige’s rationale for his own. Architects will be interested in the English translation because Teige’s arguments established a methodology for urban and architectural critique that remains current and incisive 70 years later."
evergleem
"He didn’t know the photograph; that was my own strange idea. I showed it to him after my essay was already finished, and luckily enough he was impressed by it. For me, the reference was primarily formal, even if the depicted location of Wall Street fit into my concept like a lucky accident. What interested me most about the photo was the degree to which Strand was able to represent architecture as early as 1915 in such a way that its authoritarian dimension couldn’t be overlooked. After 1915, artists became involved with this tendency again and again. What fascinates me is how one can arrive at the plastic sculptural model that Richter developed with Eight Grey, starting out with this photographic model. Richter doesn’t, of course, mimetically repeat the authoritarian structures. "
cardboard house
thx, jim b
AfterSherryLevine
" Steidl/Edition 7L has just issued a hefty record of Warhol's contribution to world literature. ''Andy Warhol's Interview, Volume One,'' packages a diverse selection of material from the first decade of the monthly magazine, which the artist founded in 1969. The package costs $475 and comes with a carrying handle and wheels attached, so that you can cart it through the streets when another revolution comes."
casa schwarz
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"In an interview Mr. Tuttle recalled a piece he showed at the Whitney Museum of American Art in the 1970's, which he described as "some paint at the end of a coffee stirrer, placed on a 40-foot wall." At the opening, after studying this tiny thing, an impeccably dressed man approached the artist and asked him: "Mr. Tuttle, do you have any idea of the cost of real estate in this part of town?"
los angeles 3 big mid-century auctions
la modern online catalog - treadway loomy online catalog
"During my last trek through what remained of the A & R department, I was invited to sort through a stack of records and demos that were to be junked. Among them I discovered a gem: a studio-cut acetate of "Like a Rolling Stone." Carefully packing it into an empty LP jacket, I carried it home and that weekend played it more than once in my apartment. The effect was the same as it had been the first time I had experienced it. Exhilaration. Heart pounding. Body rolling - followed by neighbors banging on the walls in protest. Then, on Sunday evening, it came to me. I knew exactly where the song could be fully appreciated."
"Instead, I went off to the most extraordinary show in Paris, "The Third Eye: Photography and the Occult" at the Maison Européenne de la Photographie (through February 6). With more than 300 small photos, many from the late 19th century and nearly all patently fraudulent, the show is about the power of illusion and the compulsion of belief. Spirit photos, each purporting to capture the ghostly presence of a departed loved one hovering beside the living, throng the exhibition's opening galleries with wraiths—disembodied heads, transparent figures, angelic children, hands raised in blessing, a vaporous dog—and their anxious, deluded companions. Far more alarming (and more than a little hilarious) are pictures of mediums who, when not levitating furniture, could manifest thoughts and dreams as spurts of fluid or ectoplasmic macramé. No matter how hokey, the images curator Pierre Apraxine has gathered here (many of which will travel to the Metropolitan Museum, where "The Third Eye" opens next September 27) have the dreamy, disturbing allure of the most compelling surrealist concoctions. These photographs don't just subvert realism, they feed off and fuck with it, offering a view through the looking glass to a world where hallucinations look as real as, say, grain silos."