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THE GEORGE LINDEMANN JOURNAL BY GEORGE LINDEMANN


GEORGE LINDEMANN BLOG


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NOTES FROM THE BASS MUSEUM - GEORGE LINDEMANN JR, ARTFORUM - BASS MUSEUM OF ART
- OCTOBER 2012

via bassmuseumpres.tumblr.com



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Posted 11 years ago


NO ‘THOMAS CROWN AFFAIR’ @NYTIMES

AFTER thieves broke into the Kunsthal Museum in Rotterdam, the Netherlands, on
Monday night and stole a king’s ransom’s worth of paintings by the likes of
Picasso, Monet, Matisse and Gauguin, the public and the press were shocked. As
usual, a combination of master art thieves and faulty security was blamed. But
this seductive scenario is often, in fact, far from the truth.

Most of us envision balaclava-clad cat burglars rappelling through skylights
into museums and, like Hollywood characters, contorting their bodies around
motion-detecting laser beams. Of course, few of us have valuable paintings on
our walls, and even fewer have suffered the loss of a masterpiece. But in the
real world, thieves who steal art are not debonair “Thomas Crown Affair” types.
Instead, they are the same crooks who rob armored cars for cash, pharmacies for
drugs and homes for jewelry. They are often opportunistic and almost always
shortsighted.

Take the 1961 theft of Goya’s “Duke of Wellington” from the National Gallery in
London. While all of Britain believed that the Goya was taken by cunning art
thieves, it was actually taken by a retired man, Kempton Bunton, protesting BBC
licensing costs. (He apparently stole the painting by entering the museum
through a bathroom window.) In 1973, Carl Horsley was arrested for the theft of
two Rembrandts from the Taft Museum in Cincinnati. Later, after serving a prison
term, he was arrested for shoplifting a tube of toothpaste and some candy bars.

The illicit trade of stolen art and antiquities is serious, with losses as high
as $6 billion a year, according to the F.B.I. There have been teams of thieves
who have included art among their targets, like the ones who stole a Rembrandt
self-portrait from the National Museum in Stockholm in 2000. (The only buyer
they found was an undercover F.B.I. agent.) But in general, it is incredibly
rare for a museum to fall victim to a “professional” art thief. The reason is
simple: the vast majority of people who steal art do it once, because it is
incredibly difficult and because it is nearly impossible to fence a stolen
masterpiece.

The wide attention that a high-value art heist garners makes the stolen objects
too recognizable to shop around. And there are very few people with enough cash
to purchase a masterpiece — even for pennies on the dollar — that they can never
show anyone. Once an art thief realizes this, he turns to other endeavors.
Meanwhile, the stolen treasures lie dormant in a garage or crawl space until he
figures out what to do with them.

It’s easy — and sometimes justified — to criticize security systems as flawed or
inadequate, but securing a museum is uniquely challenging. Consider this: The
goal of an art museum is to make priceless and rare art and antiquities
accessible to the public. They are among society’s most egalitarian
institutions. Contrast that with a jewelry store or a bank, where armed guards
and imposing vaults are the norm. No one expects to be able to be alone with
diamonds worth thousands, but museumgoers do expect an intimate experience with
masterworks worth millions. Clearly, it is a daunting task to provide robust
security without disturbing the aesthetics of the artwork and its environment.

So what is the remedy for the all-too-frequent scourge of art theft? Museums
must build systems that cannot be compromised by a single error or failure.
Thieves should have to overcome several layers of security before they can reach
their target and several more on the way out. At the Isabella Stewart Gardner
Museum, we took such an approach after the 1990 theft of several masterpieces —
a crime that hasn’t been solved. This not only makes it more difficult to steal
and get away with stolen art, but it gives the police precious extra minutes to
respond to alarms, especially if, as in Rotterdam, they sound at night.

When art is stolen, local law enforcement should focus on the right sort of
criminals rather than conjecture about multinational art theft rings. The key to
finding these missing needles in the haystack is to make the haystack smaller;
homing in on the most likely suspects quickly is essential to recovering the
stolen item. The F.B.I.’ s Art Crime Team has gathered impressive intelligence
on who steals art and what becomes of it. For instance, they’ve learned that
upward of 90 percent of all museum thefts involve some form of inside
information. So often the best approach is to look at active local robbery
gangs, and to investigate connections between past and present employees and
known criminals. Enhanced employee background checks and discreet observation of
visitor behavior also help to deter thefts.

Confronting these realities is essential to preventing more pieces of our
cultural heritage from being lost.

 

Anthony M. Amore is the director of security at the Isabella Stewart Gardner
Museum and the author, with Tom Mashberg, of “Stealing Rembrandts: The Untold
Stories of Notorious Art Heists.”

-By ANTHONY M. AMORE

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Posted 11 years ago


"A PICASSO AND A GAUGUIN ARE AMONG 7 WORKS STOLEN FROM A DUTCH MUSEUM" @WSJ

PARIS — With impeccable timing and taste, thieves in the wee hours of Tuesday
morning plundered an art museum in the Netherlands that was celebrating its 20th
birthday and made away with seven borrowed paintings, including valuable works
by Picasso, Monet, Gauguin, Matisse and Lucian Freud.

The Kunsthal museum in Rotterdam — which was exhibiting a private collection
owned by the Triton Foundation — was closed to the public after the theft, but
the bare spaces on its walls were visible to photographers through windows in
its modern building by Rotterdam’s museum park and busy Maasboulevard.

The theft was the latest alarm about museum security in Europe, now a prime
hunting ground for art thieves. In 2010 five paintings, including a Picasso and
a Matisse, together valued at about 100 million euros, or about $130 million,
were stolen from the Musée d’Art Moderne in Paris; they are still missing.

Police investigators combed the grounds of the museum and studied surveillance
video for clues to the burglary, which they said happened about 3 a.m. and set
off an alarm linked to a security agency. But by the time police arrived soon
after, the works had vanished.

The art, part of a collection amassed by a Dutch investor, Willem Cordia, who
died in 2011, was exhibited in public for the first time last week at the
Kunsthal, which does not have a collection of its own. The stolen paintings span
parts of three centuries: Meyer de Haan’s “Self-Portrait” of 1890 and Gauguin’s
1898 “Girl in Front of Open Window”; Monet’s “Waterloo Bridge, London” and
“Charing Cross Bridge, London,” both from 1901; Matisse’s 1919 “Reading Girl in
White and Yellow” and Picasso’s 1971 “Harlequin Head”; and Freud’s haunting 2002
portrait “Woman With Eyes Closed.”

The theft “was carefully thought out, cleverly conceived and it was quickly
executed, so that suggests professionals,” said Charles Hill, a retired Scotland
Yard art detective turned private investigator who went undercover to retrieve a
version of “The Scream,” by Edvard Munch, after it was stolen in 1994 in Oslo.

“The volume,” he added, “suggests that whoever stole it owes somebody a lot of
money, and it’s got to be a major-league villain.”

“My best guess is that someone doesn’t have the cash to repay a loan,” he said.

Marc Masurovsky, a historian and an expert on plundered art in Washington, noted
the possibility that the theft was “a contract job,” adding: “These works were
picked out. Could it be they had been targeted well before the theft, and the
exhibit was the opportunity to strike?”

Willem van Hassel, the chairman of the Kunsthal’s board, announced the closing
of the museum on Tuesday and later held a news conference to declare that
adequate security measures had been taken.

At the same conference, the museum’s director, Emily Ansenk, said that night
measures involved “technical security,” with no guards but camera surveillance
and alarms. Museum officials said that the police had arrived on the museum
grounds within five minutes of the alarm.

Ms. Ansenk told reporters that the burglary “has hit the art world like a bomb”
and described it “as a nightmare for any museum director.” Kunsthal officials
declined to estimate the value of the stolen works, though experts say they are
collectively worth many millions of dollars, possibly hundreds of millions.
Still, it would be difficult for thieves to sell such easily identifiable
artworks, contributing to suspicions about underworld finances.

“I think it’s a form of repayment in kind, a barter — 'I don’t have cash, but I
have these paintings,’ ” said Mr. Hill, the art investigator.

Kunsthal officials vowed that the museum would reopen on Wednesday.

-By DOREEN CARVAJAL

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Posted 11 years ago


"CHRISTIE'S TO AUCTION A MONET PAINTING" @WSJ

 

Banker Herb Allen's family plans to auction one of Monet's water lily paintings
for between $30 million and $50 million. Collectors are buying famous works on
hopes they retain their value in the current economy.

In another sign that the smart money set is selling art this auction season,
Christie's plans to auction off a Claude Monet painting of a water lily pond for
between $30 million and $50 million. The painting was donated to a school by the
family of investment banker Herb Allen.



The planned sale next month comes as prices for Monet's watery scenes continue
to climb, buoyed by interest from emerging collectors in China and Europe who
think values for name-brand artists will hold up during times of economic
uncertainty even if prices for lesser-known painters plummet.

Monet's Water-Lily series—the artist painted more than 160 views of his garden
pond at Giverny, France between 1905 and his death in 1926—seem particularly
popular. Five of the artist's priciest paintings at auction depict his garden,
including "The Lily Pond," a 1919 example that Christie's auction house sold to
a European buyer for $80.4 million at the peak of the last market in 2008.

"Water Lilies," a painting that dates from 1905 and shows mint-green lily pads
bobbing atop a periwinkle pool, will be offered at Christie's evening sale of
Impressionist and modern art in New York on Nov. 7.

Christie's specialist Conor Jordan said Chinese interest is already piqued by
"Water Lilies," so he's shipping it to Hong Kong next week so potential bidders
can take a closer look.

Mr. Allen, the founder of the annual mogul-fest in Sun Valley, Idaho, said his
father bought the painting in 1979 with his wife, Ethel Strong Allen. After Mr.
Allen's father died in 1997, the painting remained in the collection of his
stepmother, who died in June.

Mr. Allen said the school is also auctioning off a pair of Impressionist
paintings by Camille Pissarro and Alfred Sisley that were included in his
stepmother's bequest.



Pissarro's 1895 landscape, "Apple Trees and Haymakers, Eragny," shows a pair of
women using pitchforks to rake hay into piles in an apple orchard near
Pissarro's home in Eragny, France. Christie's estimates the work will sell for
at least $2.5 million.

Pissarro's performance at auction has been patchy lately, with several works
going unsold, but collectors tend to pay a premium for scenes like this one that
show Pissarro's signature way of painting long, afternoon shadows.

Christie's also expects to get at least $2.5 million for Sisley's "Alley of
Poplars at Moret on the Bank of the Loing," an 1890 view of a poplar-lined path
near a riverbank in the French town of Moret. Sisley's auction record is
similarly hit and miss these days, but his poplar series still seems to find
plenty of takers: Seven of the artist's priciest works at auction feature
riverbank views of Moret—including an 1891 example that broke the artist's
auction record when it sold for $5.7 million at Sotheby's five years ago.

Mr. Allen said his stepmother's will bequested all three paintings to his
prep-school alma mater, Hackley School, in Tarrytown, N.Y.

-By Kelly Crow

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Posted 11 years ago


"POLICE HUNT VANDAL OF ROTHKO CANVAS" @WSJ #ROTHKO

LONDON—British authorities are searching for a man who took responsibility for
defacing a valuable Mark Rothko canvas with black paint at the Tate Modern
museum on Sunday afternoon.

The man walked up to one of Rothko's murals—an untitled 1958 painting often
referred to as "Black on Maroon"—and tagged it with the words: "Vladimir Umanets
'12, a potential piece of yellowism." The vandal then quickly left the building.

 





The incident was witnessed by Tim Wright, a 23-year-old marketing executive from
Bristol, England, who said he "turned around and heard this scratching sound,"
only to see a young man finishing his letters on the Rothko painting.

"It was all very surreal," Mr. Wright said. "One minute he was sat down, and the
next he had climbed over a little barrier and was knelt down doing his tag." Mr.
Wright snapped a picture of the defaced painting—marked with the black letters
in the bottom corner— and uploaded it to Twitter.



Vladimir Umanets, an artist working in London who has published a "Manifesto of
Yellowism," claimed in several British media outlets on Monday, including ITV
and the Guardian and Evening Standard newspapers, that he had defaced the
painting, describing his act as art. Mr. Umanets told the Guardian that the
incident would increase the value of the Rothko canvas.



"I don't want to spend a few months, even a few weeks, in jail." Mr. Umanets
told ITV News. "But I do strongly believe in what I am doing, I have dedicated
my life to this."

Mr. Umanets declined to comment to The Wall Street Journal.

A spokesman for the Metropolitan Police said authorities are looking for a
suspect described as a white man in his 20s and have taken note of reports in
the British media naming the alleged suspect.



Rothko, a Russian-American painter known for his abstract color fields, painted
the murals in the late 1950s for the Four Seasons restaurant in New York's
Seagram Building. The artist's decision to accept the commission was subversive,
according to a Harper's Magazine piece by the late editor John Fischer, who
famously recounted Rothko's hope that the art would "ruin the appetite of every
son of a b— who ever eats in that room."

The paintings were never exhibited in the New York restaurant because Rothko
decided to keep them. He gave a set of the now-famous murals to the Tate in
1969, just before he committed suicide.



The murals are an important part of Rothko's oeuvre because they mark the first
time he created multiple paintings designed to surround the viewer, according to
David Anfam, a Rothko expert and commissioning editor of fine art at British
publisher Phaidon. Mr. Anfam says he thinks conservators will be able to repair
the Tate's damaged canvas, which he says is likely worth tens of millions of
dollars. In May, Rothko's 1961 painting "Orange Red Yellow" was sold at
Christie's in New York for $86.9 million, becoming the most expensive Rothko
work ever sold.



The Tate declined to comment on potential restoration.

"With the Seagram Murals, this was Rothko's first and seminal bid to create an
entire environment—which is absolutely key—rather than just isolated individual
works on canvas," Mr. Anfam said.

The incident Sunday served as a reminder of how vulnerable prized paintings can
be when on display in high-traffic museums.

At the Tate on Sunday, two staffers who had been manning the room ran to summon
security, but the vandal had left by time the guards arrived, Mr. Wright said.
He said the museum soon evacuated the entire building, located across the Thames
River from St. Paul's Cathedral.

The Tate confirmed in a statement that a visitor defaced one of Rothko's Seagram
murals "by applying a small area of black paint with a brush to the painting."
The museum declined to comment further.

Rothko's children, Kate Rothko Prizel and Christopher Rothko, also issued a
statement, saying: "The Rothko family is greatly troubled by yesterday's
occurrence but has full confidence that the Tate Gallery will do all in its
power to remedy the situation."

The Rothko mural isn't the first work of art to be attacked in the name of art.
In 2000, also at the Tate Modern, two performance artists urinated on Marcel
Duchamp's sculpture "Fountain," itself a urinal. Four years earlier, Canadian
artist Jubal Brown ate blue foods and purposefully vomited on a Piet Mondrian
painting at the Museum of Modern Art in New York. A few months before, he had
vomited in red hues on a different painting in Toronto.

-By Paul Sonne

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Posted 11 years ago


"THE ARTIST IS ABSENT" @WSJ

Hirshhorn Museum and Sculpture Garden



Ai Weiwei will probably be regarded as the most important artist of the past
decade. He is certainly its most newsworthy and arguably its most inspiring.
Over the repressions of Chinese authorities, he has used a wide range of
resources to broadcast a message of freedom.

Through his art, he has spoken with a voice that also includes those who have
been silenced. A dissident under a capricious regime, he has endured trials that
have captivated world attention while galvanizing an underground culture at
home.

The arrival this week of Mr. Ai's first North American retrospective, "Ai
Weiwei: According to What?"—which begins at the Hirshhorn Museum in Washington
and travels to three other cities, concluding at the Brooklyn Museum in 2014—is
itself newsworthy. That this exhibition largely fails to inspire not only speaks
to Mr. Ai's own limitations but also to the challenges and missteps in
exhibiting this increasingly multifaceted artist.

It bears remembering that following his youth in a Chinese labor camp and his
punk bohemian immersion in 1980s New York, for several years Mr. Ai, now 55, was
a member of Beijing's cultural elite. A sly thinker and adept designer, he
emerged in the late 1990s along with the booming market for contemporary Chinese
art to become a sanctioned and profitable ambassador of the modernized socialist
state. In 2008, he even served as the artistic consultant on National Stadium,
the "Bird's Nest" centerpiece of the Beijing summer Olympics.

It was the Sichuan earthquake in May of that year that turned Mr. Ai from
cultural purveyor to iconoclast. He rightly believed that the tragedy of this
event, a thousand miles from Beijing in the heart of rural China, was magnified
by the state's refusal to investigate its particularly tragic circumstances: the
death of more than 5,000 children due to shoddy school construction.

In the years that followed, Mr. Ai put this belief into action. He visited the
devastation, documenting the sites in photos and videos, and organized what he
called a "citizens' investigation" to identify and memorialize each child killed
in this disaster.

As he pursued this project, Mr. Ai increasingly faced off with the Communist
state. He came under surveillance and sustained a beating at the hands of local
police, a life-threatening brain injury, the destruction of his studio in
Shanghai, 81 days of imprisonment and psychological torture, a state-driven
campaign of intimidation, multimillion-dollar charges and fines, and the
stripping of his freedom to leave the country—including his plans to attend this
North American retrospective.

The Hirshhorn show is an update of the one at Tokyo's Mori Art Museum in 2009,
which was organized largely before Mr. Ai's dissident chapter. While the current
exhibition brings in some important new pieces, it still feels weighted toward
the state-sanctioned years. Even the recent selection largely follows the
earlier formula.

Much of this work falls under what I call the Salon style of contemporary
Chinese art: Oriental idioms, passed through Pop-art sensibilities, processed
into large works with a factorylike finish. Mr. Ai can be particularly taken
with Western art's historical references. Several examples here are
minimalist-inspired sculptures with flourishes of Chinoiserie. "Cube in Ebony"
(2009), carved with a traditional rusticated surface, recalls Tony Smith's
"Die." "Moon Chest" (2008), created through traditional cabinet-making
techniques, riffs off Donald Judd's "specific objects." "Cube Light" (2008),
which is a recent acquisition by the Hirshhorn and also the most oversized,
underwhelming piece in the show, is minimalism transformed into a kitschy
chandelier.

Too much real estate gets taken up by these large works. The Mori's Mami
Kataoka, who also curated this show, calls the art a "warm" minimalism for
existing "between formalist and contextual methodologies"—in other words,
Western work with an Eastern twist.

It is true that Mr. Ai includes personal, social and political references in his
sculptures. At times they can seem like the coded messages of a prisoner tapping
on his cell wall. "Surveillance Camera" (2010), a marble sculpture that turns an
object of oppression into a work of art, is ominous and poignant. But often the
sculpture, outsourced to inexpensive Chinese artisans, is a lot of effort for
not much return. Sculptures that require lengthy explanations—that one was
inspired by a small wooden box left by the artist's dissident poet father, Ai
Qing, or that one was inspired by the shaking of the chandelier in Sergei
Eisenstein's 1928 film "October"—are not so much "warm" as warmed over. One
exception is "Straight" (2008-2012), a new floor installation made up of 38 tons
of rebar recovered from Sichuan after the earthquake that is a rough and
powerful work regardless of what else we know about it.

Mr. Ai has always been a conceptual artist. The challenge of a conventional
museum exhibition is that his output has become more and more immaterial. It
could be that Mr. Ai is now best reflected in other ways—for example in Alison
Klayman's inspiring documentary "Ai Weiwei: Never Sorry." Blogging, Twitter and
the Internet itself, to which Mr. Ai devotes eight hours a day, have become his
genuine new media and his most consequential work. Unfortunately, this
traditionally mounted show tells us little about that. Walls of photographs—with
both wonderful snapshots from his New York years and thousands of digital images
from his Internet feed—could offer extra context, but they are so poorly labeled
and hung so high that they serve as little more than decoration.

For a retrospective, there is also regrettably little about his involvement in
the Beijing avant-garde of the late 1970s—he was part of the "Stars" group
during a brief thaw known as the "Beijing Spring." Nor are there examples of his
underground books published in the mid-1990s.

A deep humanity runs through Mr. Ai's best work. "I've experienced dramatic
changes in my living and working conditions over the past few years," he says in
an interview with Hirshhorn curator Kerry Brougher reproduced in the exhibition
catalog. But he resists being taken in by his own politics. "Maybe I'm just an
undercover artist in the disguise of a dissident," he says. Believing in
"freedom of speech, free expression, the value of life, and individual rights,"
he tempers his politics with empathy.

That's why his work on the "citizens' investigation" is so affecting and stands
apart from the more ornamental aspects of this show. Alongside a wall-size
spreadsheet listing all the child victims of the Sichuan quake, including their
birthdays and schools, he presents a recording that reads off their names. In
this stripped-down piece, we sense the full extent of the loss, a tragedy that
is magnified for the victims' parents by China's one-child policy: "These people
have cried a lifetime's worth of tears," says Mr. Ai. "In their hearts, they
know that the precious lives they gave everything to protect are no longer."
Beyond politics, the work strikes at the heart of death and remembrance. It also
shows us how present this artist can be even in his absence—and just what is
missing in so much else of this exhibition.

-By James Panero

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Posted 11 years ago


"MONET ALONG THE RUNWAY" @NYTIMES @NYTIMESFASHION #FASHION #PARIS FASHION WEEK

 

JUST in time for Paris Fashion Week, the Musée d’Orsay opened “Impressionism and
Fashion,” an expansive exhibition examining the depiction of contemporary dress
in paintings and portraiture in the second half of the 19th century, when
fashion here became both a booming industry and a leisure pursuit.

The show, a collaboration with the Metropolitan Museum of Art and the Art
Institute of Chicago, includes paintings and costumes and will travel stateside
next year. But it is best seen here and now to spot unexpected parallels between
the subject matter of the Impressionists, from roughly the 1860s to the 1880s,
and that of the street-style photographers who document the exotically dressed
creatures outside the fashion shows across the Seine in the Tuilleries.

It is the same as when Baudelaire described “the daily metamorphosis of exterior
things,” only instead of the changing shape of bustle skirts, as the pouf
derrière became wider in the 1870s and more decorative in the 1880s, the
photographers document the exaggerated round shoulders of a Comme des Garçons
coat in the 2010s. The thought occurs, while regarding a painting of a man
holding an umbrella, standing just so in the bright daylight, that perhaps
Claude Monet was The Sartorialist of 1868.

Visiting the exhibition with the Times photographer Bill Cunningham, we were
fascinated by the clever staging of the show, with portraits arranged in
galleries that are filled with gilded chairs, as if for a défilé. Place cards
tied with tiny ribbons to each seat were inscribed with the names of guests.
Charles Frederick Worth was seated between Mademoiselle Marie Duplessis and the
Comtesse Clotilde Bonaparte.

The incorporation of fashion was thrilling, with a case of hats placed next to
the millinery paintings of Degas, and a display of intimates laid out before
“Rolla,” a painting by Henri Gervex that shows a naked woman asleep, observed by
a man standing at a window.

As we entered the final gallery, designed to evoke Monet’s park settings with
walls painted sky blue and the floor covered with a carpet of fake grass, Bill
saw a group of children in schoolboy blazers sitting on the ground, and some
tired tourists relaxing on a bench, and said, “Now that’s a picture.”

-By Eric Wilson

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Posted 11 years ago


“DOTS, STRIPES, SCANS” @NYTIMES

> The Whitney Museum has a hit on its hands: a beautiful show organized by a
> young curator that makes a cogent case for the work of a young artist. In a
> season when many New York museums are devoting a lot of energy to the past,
> the Whitney’s survey of work by Wade Guyton stands out as a cause for
> optimism. Yes, interesting art is being made here and now. And yes, there are
> serious ways that museums can present this art that are beyond the scope of
> even the richest commercial galleries.
> 
> Like many artists Mr. Guyton, who is 40, is both a radical and a
> traditionalist who breaks the mold but pieces it back together in a different
> configuration. He is best known for austere, glamorous paintings that have
> about them a quiet poetry even though devised using a computer, scanner and
> printer. The show is titled “Wade Guyton: OS,” referring to computer operating
> systems.
> 
> Uninterested in drawing by hand, much less in wielding a paintbrush, he
> describes himself as someone who makes paintings but does not consider himself
> a painter. His vocabulary of dots, stripes, bands and blocks, as well as much
> enlarged X’s and U’s and occasional scanned images, combines the abstract
> motifs of generic Modernism and the recycling strategies of Andy Warhol and
> Pictures Generation artists like Richard Prince and Sherrie Levine.
> 
> One of his principal themes, which he endlessly cites and parodies yet
> reveres, is Modernism as an epochal style of art, design and architecture that
> permeates our culture from the artist’s loft to the corporate boardroom.
> Another is modernity as an inescapable current condition, personified in his
> case by his adaptation, as just another kind of paintbrush, of the digital
> technology that pervades our everyday lives.
> 
> While clearly not made by hand, his works are noticeably imperfect. The
> paintings in particular clearly tax the equipment that generates them; they
> emerge with glitches and irregularities — skids, skips, smears or stutters —
> that record the process of their own making, stress the almost human
> fallibility of machines and provide a semblance of pictorial incident and
> life.
> 
> The line between what the artist has chosen and what technology has willed is
> constantly blurred. For one thing, to achieve paintings of substantial width,
> Mr. Guyton must fold his canvas and run it through the printer twice; this
> gives nearly every image halves that are rarely in sync. You will notice this
> right off the elevator, where the exhibition’s first wall features five
> paintings of oddly off-register images of flames, each punctuated by large,
> often fragmented U’s. Even more emphatic discrepancies are apparent in an
> extended eight-panel work in which thick black horizontal bands alternating
> with white ones skittishly slant every which way but level; their jangling
> patterns form a rhythmic, slow-motion Op Art.
> 
> The Guyton show has been organized by Scott Rothkopf, a 36-year-old Whitney
> curator who has also written a convincing if overlong catalog essay
> illuminating this artist’s development, and he plotted, in collaboration with
> Mr. Guyton, a brilliant installation. More than 80 works are on view, mostly
> paintings but also computer drawings and a few sculptures. Dating primarily
> from the last decade, they are displayed on and among a series of parallel
> walls, some quite narrow. As you move around, works seem to slide in and out
> of view, like images in different windows on a computer screen. The changing
> vistas reveal the artist’s motifs migrating restlessly from one scale or
> medium to another. The U’s from the fire images are extruded into three
> dimensions in a group of 17 sculptures of mirrored stainless steel in 10
> different sizes. Placed in a tight row they form the show’s one instance of
> physical perfection and suggest an irregular sculpture by Donald Judd but are
> in fact individual works, temporarily brought together.
> 
> Born in Hammond, Ind., Mr. Guyton absorbed the critical theory of the 1970s
> and ’80s as an art major at the University of Tennessee in Knoxville before
> seeing much art. And according to Mr. Rothkopf’s essay Mr. Guyton still enjoys
> looking at paintings in books as much as at the real thing, intrigued by the
> ways photographs alter and distort them. He came to New York in 1996 to attend
> graduate school at Hunter College, and his first exhibited works here were
> sculptures that evoked an ersatz Modernism, most effectively in pieces
> casually executed in smoked and mirrored plexiglass.
> 
> In 2002 he began appropriating images by a method more direct than his
> Pictures Generation elders. Instead of rephotographing photographs, he simply
> tore illustrations from books or auction catalogs and ran them through his
> printer, superimposing lines, X’s, thick bands or grids on their images. In
> one drawing here two dark yellow X’s printed on an image of a modern kitchen
> perfectly match a cabinet, suggesting that color-coordinated abstract art is
> essential to a stylish home. In another, a series of thick horizontal bars
> partly obscure an old half-timbered building whose geometric patterns are
> structurally necessary, not decorative.
> 
> By 2004 Mr. Guyton was enlarging these motifs and printing them on canvas,
> making paintings that are rife with ghosts. His black monochromes evoke Ad
> Reinhardt and the Black paintings of Frank Stella (especially when the printer
> goes slightly awry and starts imposing white pinstripes). His more diaphanous
> gray ones can summon Mark Rothko’s veils of color, while paintings featuring
> the blunt, fragmented X’s can summon more Stella Minimalist sculpture or
> eroding corporate logos.
> 
> A field of red and green stripes scanned from the end papers of a book
> conjures the work of Color Field abstractionists like Kenneth Noland and Gene
> Davis as well as Christmas wrapping paper. They first appear in two vertical
> paintings exhibited side by side, where they are printed in similar scales but
> with quite different results in tone and texture. In both paintings two large
> black dots in the wide white margin above the stripes lend a clownish air.
> 
> The same stripes appear again, in something close to their original scale, in
> several computer drawings that are sandwiched between plexiglass in a big
> four-square frame that mimics both a window and a canvas stretcher. (They mask
> images of a Stella aluminum stripe painting and sculptures by Naum Gabo and
> Anton Pevsner.) And the stripes culminate in one of the show’s grander
> moments, running horizontally and much enlarged across two immense paintings —
> one 50 feet long, the other nearly 30 — that cover most of the north wall of
> the gallery. Here they seem extravagant and bold, yet they also resemble large
> bolts of fabric, unrolled, with the starts and stops of the printer creating
> trompe l’oeil folds. Up close you encounter another digital mystery. The
> extreme magnification creates an illusion of two kinds of textile: the green
> as a twill pattern, the red as tweed fuzzy with little orange dots.
> 
> In what seems to be a typical Guyton touch the big-statement grandeur of these
> works is played down. They seem to be deliberately crowded by “Drawings for a
> Large Picture,” which consists of 85 unframed computer drawings displayed in
> nine vitrines lined with eye-popping blue linoleum. The drawings are casually
> arranged — laid out in rows, piled in corners — suggesting the constant flux
> that is the natural condition of images in our time.
> 
> -By Roberta Smith

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Posted 11 years ago


"MOSS ON MOSS" @NYTIMES

Panda Banquette by Fernando and Humberto Campana (2006).

 

LIKE EVERYTHING ELSE THAT MURRAY MOSS DOES, THE AUCTION HE CURATED FOR PHILLIPS
DE PURY & COMPANY, “MOSS, THE AUCTION: DIALOGUES BETWEEN ART AND DESIGN,” IS
HIGHLY SUBJECTIVE AND PERSONAL. MR. MOSS HAS A FRATERNAL TWIN (A SISTER, FERN
MOSS KALAI) AND HAS ALWAYS HAD AN INTEREST IN GENETICS

Here are some lots from the auction, which pairs design objects (some from his
private collection that he owns with Franklin Getchell) with art from various
collectors.

The auction is on Oct. 16; the viewing starts on Saturday at the Phillips uptown
location, 450 Park Avenue.

Pandamonium

Panda Banquette by Fernando and Humberto Campana (2006) and “Composition” by
Henri Michaux (1959). “A variation of a Rorschach test?” Mr. Moss wonders in the
catalog.

Lounge Act

Velvet Sofa by Mattia Bonetti (2002) and “Rosa Nackte (Red Nude)” by Luciano
Castelli (1982). “Doesn’t the velvet-skinned sofa suggest the elongated,
welcoming lap of the sleeping red Siren?” Mr. Moss muses. “Couldn’t each be a
portrait of the other?”



BY BOB MORRIS



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Posted 11 years ago


"LEAVING THE SHOP, NOT CURATING, BEHIND" @NYTIMES

Danny Ghitis for The New York Times
WHEN Murray Moss started taking medication for Parkinson’s disease two years
ago, his doctor told him that high-risk behavior could be a side effect and that
he might want to start gambling.
He told his doctor he didn’t gamble. But soon enough he found himself bidding
against other compulsive collectors on eBay for quirky vintage American office
chairs.

“This one looks like a Prouvé,” he said the other day, about a diminutive brown
chair at Moss Bureau, his new office and showroom in the garment district, where
17 various and quirky chairs line tables and compete for attention. “I do the
same thing with glasses. I buy brilliant water glasses.”

Those line a wall of his Midtown apartment, where he constantly rearranges
things with the urgency of a pushy shopkeeper looking to display his wares. “I
just can’t stop myself,” he said. “I miss the store so much.”

The store: Anyone who fetishizes design knows it

Moss in SoHo was a mecca from 1994 until last winter for lovers of “narrative”
products that were as provocative and expensive as they were functional. Mr.
Moss and Franklin Getchell, his partner in business and in life for 40 years,
closed it for financial and emotional reasons, and quickly opened their
“bureau,” a floor-through office on West 36th Street, where they do as much
curating and consulting as selling.

“I hate retail and always wanted to put up a sign in SoHo telling people not to
come in,” said Mr. Moss, 63, as he passed a vitrine displaying rings made from
doll eyes and a brightly painted door hanging midair in his 10th floor loft-like
emporium. “One customer didn’t see why I’d sell a glass that broke if you
dropped it. The trouble with owning a store is that too many people have
opinions.”

They are bound to have plenty more at an Oct. 16 auction he has spent the last
seven months curating for Phillips de Pury & Company. Titled “Moss, the Auction:
Dialogues Between Art and Design,” the show, which opens this week at Park
Avenue, pairs objects from the personal collection of Mr. Moss and Mr. Getchell
with art. Designers include many shown at his store, including Maarten Baas,
Hella Jongerius, Marcel Wanders and Giò Ponti. Artists include Frank Stella,
Louise Nevelson, Alberto Giacometti and George Condo, among others. Mr. Moss
wants to educate the public.

Why shouldn’t a table be admired for both its sculptural and functional values?

“I don’t see things as commodities, I see them as ideas,” he said with an
idealism that seemed a cross between that of Frank Gehry and Willy Wonka, and
whose green eyes spark. “When I look at design, it isn’t about functionality.
It’s the narrative that interests me.”

His own narrative goes like this: Born to Russian immigrants in Chicago (his
father was a successful engineer) who wanted him to have a cultured life, he had
a piano teacher who came to his home and always placed a little bust of Mozart
on the piano. “It was ceremonial and carried such value that it was an
inspiration,” he said. So was the chance his parents gave him to decorate his
room, which he did with objects from the gift shop of a Chinese restaurant.

After getting a B.F.A. in theater from New York University in 1971, he threw
himself into acting in experimental productions, and became known for playing
mad men and wearing straitjackets. “I would do anything onstage, and go so far,
I’d pass out,” he said, “which was interesting because I was in a serious
relationship with a respected psychiatrist at the time.”

When he came into some family money, he started to buy objects. Then a friend
introduced him to Ronaldus Shamask, whose architecturally innovative drawings of
clothes inspired Mr. Moss to help him start a curious retail line that Mr. Moss
owned from 1978 to 1990. But while he was in Italy overseeing the manufacturing
of clothes, he started to notice cool modern objects like lamps and vases
integrated into daily life, often in historic buildings.

“It’s an object-oriented culture over there and it was very inspiring,” he said.

He shed fashion, opened his shop when SoHo was more about art than design, and
the rest is history, including his recent shuttering because of economics
(people treated the shop as if it were a museum, he griped) and the fact that
many of the designers he championed went on to compete with him by opening
stores nearby. But for a charmingly childlike man so good at reinvention (who
also seemed sanguine about his illness and called it “no big deal”), lamenting
the past isn’t an option.

Among his things, he is nimble and sprightly. Zipping around the bureau, he
wound up a bronze alligator toy by Cathy McClure, placed it on an Alberto Meda
table, watched it crawl and laughed at its $6,500 price with maniacal glee. Then
he gloated about the six-foot-high metal carousel ($175,000) by the same artist,
which occupies one end of the office and rattled like skeleton bones when
spinning in a strobe light.

And when he sat down to look at photographs of objects in the upcoming auction,
he couldn’t contain his pride, even as his hand shook a little when manipulating
his iPad.

On it, 45 e-mails were unanswered. He didn’t care and said so.

“I don’t know how to use this thing,” he said. “But I love changing the screen
saver.”

On it was a perfectly arranged tableau of his beloved objects. Of course.

-By BOB MORRIS

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Posted 11 years ago
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 * George Lindemann Bio


GEORGE LINDEMANN

George Lindemann Journal By George Lindemann - George Lindemann Journal By
George Lindemann - George Lindemann is a member of the Lake Point Project - a
state/county/private partnership project to restore the Everglades via
construction and donation of a +/-2,250 acre natural water storage and treatment
facility. The project will result in a donation in excess of $100 million
towards Everglades conservation and restoration. Mr. Lindemann is also the
General Manager of BC Property Investments, LC. BC was a pioneer in
repositioning commercial office space along the Biscayne Corridor in Miami, FL
in an effort to revitalize midtown Miami. BC owns (and operates) commercial
office space, as well as residential developments, in Florida, New York, Eastern
Tennessee and Mexico. Mr. Lindemann is a strong advocate of the arts, education
and the environment. He currently serves as President of the Friends of the Bass
Museum in Miami Beach, of which he is the former Chairman of the Board of
Trustees. In addition he supports several civic, environmental and volunteer
charities. Mr. Lindemann is a graduate of Brown University and holds an MBA from
Nova Southeastern University. GEORGELINDEMANN.CO GEORGELINDEMANN.BIZ
GEORGELINDEMANN.INFO GEORGELINDEMANN.ME GEORGELINDEMANN.NET GEORGELINDEMANN.US

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