Hirst revealed…emperor’s new clothes after all…
Fake artists, fake academics..a sad low, dishonest decade (to paraphrase Auden) of infantile, greedy pseudo intellectuals…
and here the best of them all…greedy bankers, brit artists, mps expenses….spot the difference?
I can’t stop laughing at Hirst’s ‘paintings’ what next Tracy Emin starts on bronze-casting? can’t wait….to hell with the whole sad bunch of fakes….
Almost every review shows him up as a fake but this beautifully precise in its derision….
http://www.guardian.co.uk/artanddesign/2009/oct/18/damien-hirst-no-love-lost
Prussian Projekte
At last something quite good in this city……
Prussian Projekte launches a series of events in 2009 beginning with…
It’s Not The End Of The World – Video works by Darren Banks
Friday 9th October 2009
Prussian Projekte, 3rd Space Studios, Unit 3 Opm House, Haydn Road, Sherwood
6.00pm – 9:00pm
For further details see upcoming events link to the right of this page or view our website where location map can also be found:
Lord Biro’s latest art show “Was Jacko murdered by Elvis?” Censored
A MICHAEL Jackson exhibition has been taken down from a city centre window because it was found to be offensive.
The Was Jacko Murdered By Elvis exhibition, by Lord Biro, was removed from the window of 30 West End Arcade on Thursday after complaints.
The exhibition was due to run from July 6 to 18.
Lord Biro’s latest art show “Was Jacko murdered by Elvis?” was on at the Chameleon Arts Café, 17 Long Row Nottingham U.K.
next to the Bell Inn off Market Square .
Here the offending image entitled “Pickle Jacko’s Nose and win the Turner Prize” from the art show.
Lord Biro
Visit our Website www.grumpyoldelvis.co.uk
and Lord Biro’s Art Work, Saatchi Gallery
http://www.saatchi-gallery.co.uk/yourgallery/artist_profile/Lord+Biro/105427.html
Paul Matosic : Latest Work Barnsley and Sheffield
updated…
Paul Matosic works mainly with found or recycled objects – through this he expresses a healthy disdain for a society that is consumed by its desire to acquire ’stuff’…
Art Design Cafe open for coffee and gossip..
We’ve been busy here building the new site for Art Design Publicity magazine (ADP) now at http://www.artdesigncafe.com
· Our new issue, Slammin with Jeff and Damien, features drama around Sarah Thornton’s critical book, Seven Days in the Art World. Yesterday The Telegraph newspaper issued a public apology…
· Later this month, Pat Magnarella, the agent for rock bands like Green Day, the Goo-Goo Dolls and Weezer will explain why he is now signing on artists. He offers an exciting new framework for more artists to make money.
· Honey Luard, in charge of art and celebrity press at White Cube, offers her insights in a reprinted interview in the Surfaces issue 1(2).
· We’re looking for new partners for two RPProjects—and especially keen on proposals from Australia and New Zealand—for spring 2010.
· The café library is now open—featuring writings on over 150 art/design organizations and professionals—for the first time online.
· Lastly, as a fun experiment, www.artdesigncafe.com is now offering adverts priced like airlines—as low as 59-189/euros a month. We want to make communications affordable for more people internationally, cut down on the expensive elitism, and see where this goes.
ADP mag and the artdesigncafé are unexpectedly marching into the top 12 international art mag/website rankings, based on reader interest: web traffic, Google search rankings and independent software rankings.
Best regards,
Robert
artdesigncafé.com
The party is over? Its Friezing out there…
Bloomberg reports that the London art market has fallen 80% in a year and that Sotheby’s and Christie’s sales alongside this year’s Frieze fair will collapse from £107 million to nearer £20 million. In the current climate people are not spending or looking for better value for money which means the Affordable Art Fair will probably de well..
http://www.affordableartfair.co.uk
Bloomberg report
http://www.bloomberg.com/apps/news?pid=20601088&sid=af38gWeq_1pQ
Waterlog Review – 2007
Response to Waterlog: Fables of the Saturation (Saturn’s Rings)
The Collection Lincoln.
Running from September 15 to December 16 2007, this group show featured new commissions by seven leading artists, all on the theme of the water drenched landscapes of the east of England.
In particular, the film, photography, sound and text works are inspired by the writings of WG Sebald in The Rings of Saturn. In the novel, the German-born writer describes a (fictional) walking tour in the East of England, where he lived for more than 20 years.
What follows is part review, part polemic written after viewing the show on Monday 24th September 2007.
Surrendering the Physical Space
Third area triumphalism: sponsored by Ace East Anglian Regeneration and Film and Video Umbrella + etc and so throw back to 1970’s and 80’s. – who makes ‘videos’ any more? Work that looks good on the internet or in theory but lacks depth in practice. Worst culprit Finlay and Guy Moreton = bad photos + bad concrete poetry = good art..so we are told….
More panning shots = film and ‘authenticity’ – landscape photos that make up in scale and printed ‘quality’ what they lack in composition – cf. Raymond Moore….no contest this is ‘illustration’ that all.
Spurious commentary, faux text art, limp ideas conceived as mediocrity piggybacking on other artists e.g. let’s throw a few references to Benjamin Brittan in. Indeed only the bell-ringing piece reveals any kind of purely aesthetic plausibility. Tacita Dean’s ‘art-umentary’ was unavailable but looks like more post Taylor-Woodisms…probably post Arena solipism. Leave it to the professionals. Two artists implicitly quote Michael Hamburger as subject – again hoping he will provide intellectual ‘ballast’ for shaky boats they are floating?
Is this the ‘High Water Mark’ we are seeing of a certain kind of modern irony (post -anti -recycled- ironicism at that). Concrete poetry, deadpan documentary – the assimilation of ‘museum collection’ pieces (Pope) which trade faux morbidity and memorial incompetance for genuine creativity. Pseudo-memory tricks and use of ‘real’ people on trips around Lincoln may set up nicely the next funding opportunity angle but says nothing about the actual area..historical skimming…internet knowledge substituted for depth and reality.
A landscape without a landscape…..
A quick check reveals that all the artists ‘involved’ in project have no real connection to the landscape..less in fact than Sebald himself…truly OUTSIDER ART…..playing to gallery and patronising to locality and locals.
The waterlogged Raft of The Medusa a la Gericault.
Compare with a ‘real’ memorials like the USAF bomber crew signatures on ceiling of the Eagle, Cambridge or Swan at Lavenham.
Sebald’s oblique desire to get at the ‘truth’ is acknowledged as being ‘unobtainable’.
These artworks are imitative, illustrational and sometimes simply non-sensical….but they act the part proffering a oblique sense of their own worth as ‘art objects’ no matter that their formation based on pilfering and quotation not inward depth.
When the physical nature of an art/i/fact is surrendered totally to intellectual ‘re-fabrication’ the fabric itself becomes immaterial (literally) – disolved and drowned in dissonance and (dis)illusion.
A fish viewed through water offers us a mangled image. These are waterlogged ideas…weighed down by their own conceits and leaving no room for trancendence or fulfillment.
We emerge exausted as if having clogged our way across a muddy field. Saturnation.
For a very pretty website which applauds itself throughout go to…
http://www.waterlog.fvu.co.uk/
MOOGEE
Featured artist September: Richard J. Hinger
Beachcomber – Kevin Carr
Cumbrian artist Kevin Carr teams up with film maker Michael Cumming to produce a funny & poetic look at the Sellafield nuclear re processing plant. 16mm. B&W. 1989
Conrad Atkinson: Workington
Press release
Conrad Atkinson Exhibition
Conrad Atkinson is an Honorary Fellow of the University of Cumbria and Emeritus Professor of Art University of California.
Workington Heritage Group Ltd is delighted to announce that as part of the 60th Anniversary celebrations of the Helena Thompson Museum, an exhibition of Conrad Atkinson’s works about industry in West Cumbria in the fifties and seventies will be on display in the exhibition gallery from Friday the 18th September to Monday 5th October
To commemorate our sixtieth anniversary Conrad Atkinson has created a special limited edition of fifty signed fine art prints of his memorable painting “Workington Steelworks” which was commissioned by Tullie House in 1958 when Conrad was a student at Carlisle College of Art.
This dramatic piece of work, kindly loaned to the Helena Thompson Museum for this unique exhibition, will be displayed, along with four watercolour, gouache and pen and ink working drawings from the fifties that were part of the preparatory work for he painting and have never been exhibited anywhere before.
Other Atkinson works to be featured include the major work from 2008 entitled “The Beauty of Cleator Moor” a controversial response to the Norman Nicholson poem Cleator Moor commissioned and loaned by the University of Cumbria.
The twelve panels called “No Compensation” first exhibited in the Serpentine Gallery London in 1978, which reflect the gritty reality of iron ore mining will also be displayed publicly for the first time since their exhibition at the prestigious Sainsbury Art Centre in Norwich at the University of East Anglia in 2006.
Atkinson has kindly lent us four ceramic landmines which he executed whilst the official artist of the US Campaign to Ban landmines in the 1990’s. These exquisite pieces have become iconic works in the US.
These seminal works were considered very influential on the work of a generation of young American artists. The distinguished American art critic Eleanor Heartney in her recent book “ART AND TODAY” published by Phaidon Press writes: “Atkinson’s works (in the seventies) were influential worldwide. Heartney calls Atkinson’s work “groundbreaking” and “landmark” she continues “in the decades since Atkinson’s watershed show artists have become increasingly conversant with the mechanisms by which infotainment, ad messages and propaganda are disseminated to a broad public.”
Dan Cameron ex Director of the New Museum of Contemporary Art New York says: “Because of his clarity, his wit, his love of community, and his gift for locating the hidden stitch that unravels the seam. Conrad Atkinson has gradually revealed himself to be one of the most thoroughly humanist artists of our time.”
It is a major coup for a small local Museum to feature works by such an eminent and internationally recognised artist whose work is featured in major galleries throughout the world, but it reflects Conrad’s commitment to his native West Cumbria. Workington Heritage Group Ltd very much appreciates his generosity and involvement in the project.
The numbered, signed, unique limited edition prints “Workington Steelworks” will be treasured by all who appreciate the rich heritage of West Cumbria available from the Helena Thompson Museum at £120 but may be pre-ordered at a £10 discount.
To reserve your unique print or for further information contact Sheila Richardson 01946 830134 or e mail sheilarichardson10@tiscali.co.uk
Admission to the Museum and the exhibition is free during the opening hours of 1.30 – 4.30 every day except Monday. Pre-arranged visits by groups may be arranged for other times and should be booked through the Museum Manager on 0190064040 or 01900606155.
Sheila Richardson
Workington Heritage Group Ltd
Conrad Atkinson exhibits Courtesy Ronald Feldman Fine Art New York
Outsider Artist: Howard Finster
Saatchi Branding Iron
Announcing THE SAATCHI BRANDING IRON (for branding artists’ flesh, dead cows, sheep and sharks, etc.)
A limited edition work of art conceived by John A Walker
One cannot help but think of Saatchi as a “brand manager” , Neil Manson (2004)
You are nobody in contemporary art until you have been branded. Don Thompson (2008)
The word ‘brand’ has several meanings; one of which is a trademark or trade name employed to identify a product; another is a mark of ownership made by imprinting or burning a metal sign, word or initials into the flesh of a human slave or animal. Brands and branding are subjects much discussed in the advertising industry in which Charles Saatchi worked for several decades. Don Thompson, a recent writer on the art market, has stressed the importance for the careers of young or emerging artists of being represented by a brand-name dealer or gallery such as Larry Gagosian. Thompson speaks of branded auction houses, collectors, dealers, art fairs and even branded artists. Arguably, as an art collector Saatchi has become a brand in his own right – when he buys art works they and the artists who created them are immediately branded. The art works become his private property and appear on his website, in his gallery, exhibitions, catalogues and press reports, and the artists become known as Saatchi protégés. In many cases, the added value of his brand increases the financial value of the art works he owns and boosts the careers of the artists concerned. The Saatchi Branding Iron, conceived in the tradition of Marcel Duchamp’s assisted readymades, Jasper Johns’ sculpture ‘The Critic Sees’ (1964) and Richard Hamilton’s multiple ‘The Critic Laughs’ (1968), makes this process visible and explicit.
Coming soon: The GOGO and JAY JOP Branding Irons. To avoid disappointment, place your order NOW!
John A. Walker is a painter, art historian and co-author of the book Supercollector: A Critique of Charles Saatchi.
A welcome gift to 3ducks
On the occasion of the invite from 3ducks, we’ll be releasing a contribution by Mat Gleason, a leader of in-your-face art criticism from California. It’s a reprint of the first page of a classic book “Most Art Sucks” (1998), essential reading to provide a more balanced view of things. You can read this at www.artdesigncafe.com [under massive construction right now] and link to Art Design Publicity magazine.
A toast to 3ducks–we look forward to learning more about the real art world!
http://www.artdesignandpublicity.com/
Featured Artist: Philippe Laniez
Philippe Laniez : nonconformist french painter, 47 years old,
pure contemporary painting, street art, multi-technic on canvas.
3 examples : Radiographie, 80 x 80 cm ;
Branchez-vous, 80 x 80 cm ;
New-York, 120 x 150 cm.
Figurative reflect of the actual society.
Roots : van gogh, pollock, tapiès, basquiat, …
contact : planiez@gmail.com
Featured Artist: Yelena Popova
Jetsam Art – save the beaches from waste, ourselves from boredom and art from white space!
-jetsam art is art you make from the waste on the beach
-jetsam art is a tag for a photograph which you upload on www.panoramio.com
-jetsam art turns googleearth and googlemap into a virtual gallery
-jetsam art is more art outside of a white space
-jetsam art is cleaner beaches all over the world
virtual gallery of Jetsam art on http://www.panoramio.com/tags/jetsam+art/
Yelena Popova is a Russian born Nottingham based artist.
www.yelenapopova.co.uk
3 DUCKS?
welcome to duckland
3ducks is committed to a fresh way of looking at the arts world….
no agendas apart from quality, no arts council tick boxes, no cliques
at a time when the whole arts world is running out of wind faster than a marathon runner
(don’t mention the olympics!) 3ducks is trying to do something different
we’d like to be a little bath of sanity in a complex world where more doesn’t mean better
we will try and give some quality control to the flood of alleged art and craft that we are awash in these days
quality NOT quantity
if its interesting we’re interested…..if it’s crap we’ll flush it…..
simple really
get the picture then get on board….quack quack…
The Rubber Duck
3ducks
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