Showing posts with label Boone. Show all posts
Showing posts with label Boone. Show all posts

Tuesday, July 19, 2011

Classic New York Magazine Art-Dealer Profiles [Collected: Throwback Edition]

I thought it might be nice to revisit some of New York's profiles of art dealers from the past 40 or so years since there are some remarkable ones hiding in Google Books' archive. They are rich with with romance and heartbreak, high drama and petty squabbles, like any great summer read, and they show the New York art world on its way to becoming what it is today, sometimes with uncanny prescience. Here are some of my favorites.


Mary Boone, New York, April 19, 1982. Photo by Larry Williams

"The New Queen of the Art Scene," by Anthony Haden-Guest, April 19, 1982:
"Salle is 29, and articulate, with a dark, Jesuitical face. He and Schnabel are close friends, but, as is usual between artists, theirs is not the simples of friendships. Last year, the two agreed to exchange artworks. Schnabel chose first. When David Salle visited Schnabel's studio, he found his own canvas—painted on by Julian Schnabel. 'We'll make art history,' Julian explained."


Larry Gagosian, in front of a painting by Mark Rothko, New York, September 2, 1991. Photo: James Hamilton

"Art à Gogo," by Andrew Decker, September 2, 1991:
"After graduation, he took odd jobs, including parking cars and working at the William Morris Agency. In the mid-seventies, he started selling posters on the sidewalks near UCLA. 'Real schlock,' he says, laughing. 'I'm being painfully honest. It was like a kitten playing with balls of yarn, or sea gulls flying over a foggy shore. I'm not responsible for it.'"


Klaus Kertess and an early Ralph Humphrey, New York, May 20, 1968. Photo: Herb Goro

"The Gallery of the Year," by Rosalind Constable, May 20, 1968:
"Critics are struggling to find a name for this branch of Minimalism. 'Urban Pastorale,' suggested one. 'Romantic Minimalism,' said another. 'Abstract Luminism,' said a third. Critics on the whole don't like it (yet), find it 'empty.' But critic Lucy Lippard is enthusiastic: 'As the eye of the beholder catches up with the eye of the creator,' she says firmly, 'empty,' like 'ugly,' will become an obsolete criterion."


Arne Glimcher, in front of a painting by Chuck Close, in New York, October 10, 1988. Photo: Louis Psihoyos

"The Art of the Dealer," by Edith Newhall, October 10, 1988:
"Even when Glimcher was in Africa last summer, dealers, artists, curators, and the rest were gossiping about his future. The rumor was that he had given up the art business and sold Pace to Charles Saatchi, the British advertising tycoon and contemporary-art collector. ('I hear that it was proposed but it was turned down,' says art critic Robert Hughes.)"


Ethell Scull, with Jasper Johns's Out the Window and Black Target. Photo: Jean Pagliuso

Ethel Scull is not an art dealer, I know, but this is a heartbreaker of a piece, and it feels like the right one to end on.

"Back on Top With the Mom of Pop Art," by John Duka, June 9, 1986:
"On May 14, the two sides convened at the warehouse. With Ethel were Raoul, Myrna, and a representative of Sotheby's. On Bob's side, Epstein and two purchasers attended. First choice in selecting a piece was to be decided by a coin toss. Felder produced a quarter, but Epstein wouldn't use it. After some shouting, a neutral quarter was found. Epstein called heads. It came up tails. Ethel had won again."

Wednesday, February 16, 2011

Terence Koh with "nothingtoodoo" at Mary Boone


Terence Koh, performance still of nothingtoodoo, February 12, 2011, at the Mary Boone Gallery, New York. Photos: 16 Miles


Outside of Koh's gallery, Asia Song Society, 45 Canal Street, February 13, 2011


Terence Koh, performance still of nothingtoodoo, February 16, 2011, at the Mary Boone Gallery, New York

Sadly, there are no white-chocolate mountains on view in Terence Koh's one-person debut at Mary Boone. Koh has, at least for now, excised such easy, giddy pleasures from his work. Instead, there is a massive pile of salt sitting in the center of the gallery. There is also Koh himself, clad all in white, slowly working his way around the sculpture on his knees. This looks painful, though Koh gave no hint of discomfort on Saturday evening at his opening reception.

When I returned this afternoon, slipping through the white curtains that obscure the entrance to the main gallery, I was momentarily startled — first, to discover that Koh was still at it, and, second, that I was all alone with him. His back was faced away from me at that moment, as he went about his labor, which reads as a more masochistic, isolated version of Marina Abramović's recent MoMA performance, The Artist Is Present (2010). He performs for one more hour each day than she did, though he gets two days off to her one.

During one of those days off, Sunday, I walked from Reena Spauling Fine Arts and its charmingly low-key Matias Faldbakken show (more on that later) to Canada's divisive Joe Bradley affair, passing on the way the Asia Song Society, Koh's gallery and residence at 45 Canal. There were two white shoes sitting outside, one filled with flowers. Yesterday, I realized that he has been performing without shoes.

On Saturday evening, the gallery had been nearly still, as the crowd somberly watched Koh, silently rooting him on. Today, though, the silence was the result of emptiness. I felt guilty standing and watching as he went about his unending crawl, and I felt worse as I got ready to walk away. (Abramović had no shortage of supporters at MoMA.) I stayed for a few more minutes, and then, turning to go, quickly indulged an involuntary (and perhaps selfish) urge to pass in front of him, to let him know that someone had been staring.

Previously:
Terence Koh, Silent March, November 21, 2009

Tuesday, July 27, 2010

Times Restaurant Critic Sam Sifton's 21 Best Art References [Updated July 6, 2011]


Two thousand pounds of ribs at the Performa 09 opening dinner, October 29, 2010. Photo: 16 Miles [more]

Should New York Times restaurant critic Sam Sifton be writing about art? Sifton been on the job for a little less than a year and has spent that time dropping lines that suggest he has a thorough knowledge of the sociology, history, and current playing field of the New York art world. Also, he is a former deputy culture editor and written favorably of the Trustees Dining Room at the Metropolitan Museum of Art. Can someone convince him to jump to the art section? There's less glamor there, but he'd be more likely to win a Pulitzer (only Jonathan Gold has earned one for food writing), and art blogs don't stalk critics as they try to enjoy a delicious lunch at KFC.

Enough lobbying. Here are, in my humble opinion, are Sifton's five 21 best references to art in his reviews, in no particular order:

21. The Dutch
"Mr. Carmellini’s rabbit potpie, the size and shape of a football, holds amazing richness beneath its Christopher Wren-like dome: butter, rabbit and divinity in equal measure."
July 5, 2011

20. The Dutch
"But for dinner you should endeavor to be seated in back, along Sullivan Street, where the lights hang low in shades that might be pencil tops as rendered by Claes Oldenburg."
July 5, 2011

19. Nectar
"There are a few diners within walking distance of the Met, one of them quite close: the Nectar, on Madison Avenue at 82nd Street. I would not order a corned beef sandwich there, but a cheeseburger deluxe with well-done fries, some mayonnaise on the side and a Coke. To eat this meal while wearing a good suit, with a brimmed hat sitting on the seat beside you, while thinking vaguely about the Georg Friedrich Kersting paintings you saw at the Met’s “Open Window” exhibition just a few minutes before? It is to experience precisely what makes New York the greatest city in the world."
July 1, 2011, Hey Mr. Critic

18. Desmond's
"Only the art on the walls distracts: paintings of the limp Euro-pop variety and, across from them, a large square of pastel fabric that hangs with a kind of pregnancy on the restaurant’s large western wall. If you knew there was a Lucian Freud hanging behind it, it might be interesting. There is not. You may be on the Upper East Side, but not at the Met or a private home."
June 21, 2011

17. Barbecoa (London)
"Better to come here at lunch for the ribs alone, or a steak, and for a look at the artist Gavin Turk’s towering new work just outside the front door: a 40-foot bronze nail seemingly driven into the concrete at the foot of the building. Take a brisk walk across the Wobbly Bridge to the Tate Modern afterward."
May 24, 2011

16. St. John Hotel (London)
"Tom Harris ... cooks lamb sweetbreads with butter beans and wild garlic that can set off an episode of synesthesia if you are so inclined: a Constable landscape of flavors and textures, of menacing clouds and plump trees and soft grass for the lamb, Britain on a plate."
May 24, 2011

15. The National Bar and Dining Rooms
"But I also make mention of 'New York — Night,' a painting by Georgia O’Keeffe that takes as its subject the hotel in which the National makes its home, the Benjamin. (It was the Beverly, then.) I did so because I thought about that painting a lot, coming and going from the National, thinking about O’Keeffe up in her hotel room a couple blocks south, where she lived with her husband, Alfred Stieglitz. I thought of her looking out the window into the inky black, trying to make sense of this vast city laid out before her, and I was very glad that all these years later I could have a hamburger in the lobby of the building she stared at and made into art.

"Which leads to this week’s question: What’s your favorite painting of New York City? Do you favor Childe Hassam or George Bellows, maybe Pamela Talese or Henry Farrer? How about Gordon Matta-Clark? (Not paintings, maybe, but still!) Share your thoughts in the space below. Include links. And explanations. Then we can all go get dinner."
May 10, 2011, Diner's Journal

14. The National Bar and Dining Rooms
"The National is on the ground floor of the Benjamin Hotel, which limber-necked art history students may look up to recognize as the subject of a painting Georgia O’Keeffe made in the mid-1920s, when she was living a block south, in the Shelton, with her new husband, Alfred Stieglitz. the painting is called “New York — Night.” It depicts a dark, forbidding city of skyscrapers, the Benjamin at the center, dotted with warm yellow light of office desk lamps twinkling 30 stories up, and glowing at its bottom with a hearthlike orange that promises warmth and fellowship, and the city at its loveliest.

"Mr. Rockwell captures the quality of this light and uses it to animate the warm colors of the restaurant’s floor and burnished treads on his beautiful stairs, and to soften what might otherwise be a transitory, hotel-lobby feel."
May 10, 2011

13. The Chef's Table at Brooklyn Fare
"The restaurant opened two years ago. For much of the time since, the reservation line was attached to the mobile phone of Heidi Issa, whose husband, Moe Issa, owns Brooklyn Fare. (He plays Medici to Mr. Ramirez’s Donatello.)"
- April 26, 2011

12. Graffit
"Entrees offer a return to whimsy, with platings that owe something to Kandinsky. They are brightly colored, severely abstract, occasionally Bauhaus."
- April 19, 2011

11. Graffit
"The food at Graffit, Jesús Núñez’s new modernist restaurant on West 69th Street, is carefully designed and plated, the sort of food you could spray with lacquer and put in an art show as sculpture — three-dimensional Kandinskys."
- April 19, 2011, Diner's Journal

10. Graffit
"'Not your average egg,' says the menu. If Graffit were French, the better title might have been, 'Ceci n’est pas un oeuf!'"
- April 19, 2011, in a Diner's Journal caption

9. Vandaag
"A stroopwafel is probably best, though, with a cup of coffee, the thin waffle warming in the steam. Eating it in this room is to be thrilled by the unfamiliar, and to experience what the art critic Robert Hughes called the shock of the new. That’s what good design is for, too."
- September 21, 2010

8. La Petite Maison
"But as such, if you are, for instance, gearing up to see the German expressionism show at MoMA when it opens on Sunday, La Petite Maison may serve as a perfect place to allow the mistral to push away the darkness, and to eat zucchini-flower beignets with a glass of rosé."
- March 22, 2011

7. M. Wells
"Back on that night in the rain, as the smoke drifted down, M. Wells took on some of the aspects of an animated hipster version of Hopper’s 'Nighthawks,' a Paul Thomas Anderson pilot for HBO."
- April 6, 2011

6. M. Wells
"You know those biographies where the great artist first moves to New York, has a cold-water flat in a desolate part of town?"
- April 6, 2011

5. Pulino's Bar & Pizzeria
"In McNallyworld, everyone sits in the catbird seat. We are all Julian Schnabel here."
- May 4, 2010

4. Recette
"As in Chelsea galleries, though, perhaps so too in West Village kitchens: The artists who make the work are rarely the people who ought to explain it."
- March 31, 2010

3. Má Pêche
"Eating there is a little like visiting your formerly bohemian artist friend, whom you haven’t seen since he signed with Deitch and bought a double loft in TriBeCa."
- July 12, 2010

2. Recette
"A deconstructed s’more that looks like an Elizabeth Peyton canvas is another, with graham-cracker ice cream, toasted marshmallow cream and a knife-cut of cayenne-hyped milk-chocolate ganache."
- March 31, 2010

1. Novitá
"And a small plate of hand-cut prosciutto with airlifted melon slices tastes like Manhattan’s past made living, like a delicious early dinner at Mezzogiorno, in fact, with Marlboro smoke drifting out through the open windows on Spring Street and people arguing about Mary Boone."
- February 10, 2010

Tuesday, October 20, 2009

"A Tribute to Ron Warren" at Mary Boone Gallery [Photographs]


Barbara Kruger, Untitled (All seeing / All knowing), 2009. Photo: 16 Miles [more]


Installation view


Jack Pierson, Judy, Anywhere, 2009


Roni Horn, Key and Cue, No. 459 A TOOTH UPON OUR PEACE, 1994/2005


Terence Koh, Asthma Air [center], 2007


Sherrie Levine, False God, 2007


Marc Quinn, GGGTTTDDDAATTTGGGG, 2009


Aleksandra Mir, Let's Go Get 'Em!, 2007

"A Tribute to Ron Warren"
Mary Boone Gallery
541 West 24th Street
New York, New York
Through October 24, 2009
[more photographs]

Tuesday, December 30, 2008

Dzama, Bergdoll, Neuberger on 2009 Resolutions

The Wall Street Journal asked a variety of people to share their New Year's resolutions.  Marcel Dzama's: "Read more and plant a garden in my backyard."  He also shares, "I have recently made sketches for a piece in Mexico that will be permanently installed in a botanical garden in Culiacán. It will be a snowman kept alive by solar panels."

MoMA curator Barry Bergdoll, dealer Mary Boone ("To laugh more.") and legendary collector Roy R. Neuberger (going strong 105 years old!) make up the rest of the art world contingent, alongside some other interesting picks.  This will probably be the only time that Chris Brown and Danny Meyer will ever appear in the same article.