I quit, 2014
Public space performance and photo documentation
19.6 x 27.5″ / 50 x 70 cmThis ongoing performance and its documentation is a
reference to Ai WeiWei’s Study in Perspective.
The performance is a provocation as much
as it is a protest behind a gesture.
I agree it is theoretically different. But it is also politically motivated. Ai Weiwei’s vases cannot be seen solely as a critique against the Chinese government, but also as a symbol of a global art market where a few art superstars are exhibited everywhere, which tends to push out more local artists and culture. I like the fact he uses the creative act of one of the elites politically most critical artists as a way to make his own point. The fact he does the same thing is actually his weakness; it does not have the creativity of Ai Weiwei’s act, nor the huge personal historic symbolism (Ai Weiwei is in fact drawing attention to the destruction of his own culture, by destroying an artefact of it) so in the end it is probably more a piece of political propaganda than a creative piece.
Still: there is not really any other work of art that would have invited the same extreme violent way to express his point than this and still seem like a creative act. Unlike the guy defacing a Rothko in the name of art I actually hope Mr. Caminero gets off with a reprimande and does not have to serve jail time. Because seeing the history of Ai Weiwei that would be ironic.
Landscape painting titled ‘view from a window”?
A man is filmed picking up and smashing a vase by Chinese artist Ai Weiwei worth $1m (£600,000). Florida artist Maximo Caminero, 51, was later arrested and admits to breaking the work in protest at the Perez Art Gallery in Miami only showing international art. Caminero now faces up to five years in prison for criminal mischief. Watch
I am not often defending vandalism against art, but in this case it is rather inspired. I wonder what Ai WeiWei himself would say about this?
Acrylic and sprinkles on canvas
14” x 18”
DAILY PIC: This is “Ohr” (“Ear”), a 1980 photo by Isa Genzken now in her huge retrospective at the Museum of Modern Art in New York. It’s one of Genzken’s fine early works, when she was making truly idiosyncratic, almost cryptic pieces about humans and their interactions – both perceptual and cultural – with the world around them. She was also playing with notions of authorship and originality: the photo is of Genzken’s own ear, and it was taken by her then-husband, the painter Gerhard Richter; she often showed it with images of stereo equipment appropriated direct from printed ads. (Sometimes she appropriated the actual electronic components.) Genzken’s early pieces just sit there, self-contained and secure and leaving it up to you to figure out how they work and what they do. Weirdly, the later assemblages that helped make Genzken’s name feel much more familiar, much less demanding and much more intent on pressing our buttons. They sit smack in the middle of the modernist tradition in sculpture, and don’t add much to it. (Collection Museum of Contemporary Art Chicago, gift of Mary and Earle Ludgin by exchange; courtesy the artist and Galerie Buchholz, Cologne/Berlin © Isa Genzken)For a full visual survey of past Daily Pics visit blakegopnik.com/archive
While pitch perfect black is easy to achieve in a digital image, it does not really communicate the effect of darkness. This digitally generated image by James does.
The edition contains:
- Full size image 2400 x 3000 px
- Full size alternate image
- Animated gif alternates
- Source code
- PDF with background
- Certificate Of Authenticity
And all that for $5,- Buy here.
Check out James Proctor on Tumblr
Robert Rauschenberg, Erased De Kooning Drawing, 1953. Recto and verso. “Frame is part of drawing.”
This view of the back of Erased de Kooning Drawing shows the following inscription, written in heavy black: “DO NOT REMOVE DRAWING FROM FRAME. FRAME IS PART OF DRAWING.” A studio assistant added the note at Rauschenberg’s behest, likely just before the work toured with the 1976 exhibition Robert Rauschenberg. The myriad museum, gallery, and shipping labels scattered across the back of the piece testify to its extensive international exhibition history.