Art Whirled / Brice Krispies
2009
22×24
Oil on linen
Painting notes:
- Jean-Antoine Watteau: Gathering in the Open Air, Dresden
- Jean-Antoine Watteau: Pierrot, Louvre
- Jasper Johns: Ballantine Ale Cans
- Jean-Antoine Watteau: A Lady at her Toilette, Wallace Collection
- Jean-Antoine Watteau: Le Pélerinage À L’ile De Cythère, Louvre
- Andy Warhol: Small Torn Campbell’s Soup Can (Pepper Pot) Eli and Edythe L. Broad Collection, Los Angele
- Le Grand Motif
- Frederic Edwin Church: Cotopaxi, Detroit Institute
- John Chamberlain: B1G E, $4,600,600. “Auction record for the artist.” Sotheby’s November 2007
- A Bit of Fry & Laurie. The worshipful figure is from Naissance des pieuvres (2007). She is staring at “Bacon ‘n Eggs” adapted from Kitchen Kitsch: Vintage Food Graphics by Jim Heimann. The image is suggested by The Rothko Chapel, Houston. [where else?]
- Mel Ramos: Devil Doll
- Frederic Edwin Church: Rainy Season in the Tropics, Fine Arts Museums of San Francisco
- Jeff Koons: Hanging Heart, $23,600,600. “Auction record for a living artist.” Sotheby’s November 2007
- Nicolas Poussin: Landscape with an Ancient Tomb, Prado
- Jean-Antoine Watteau: The Festival of Love, Dresden
- Jasper Johns: False Start
- Javier Bardem: Vicky Cristina Barcelona (2008)
- Javier Bardem: Vicky Cristina Barcelona (2008) “I like it very much.”
- Sotheby’s Ad, November 27, 2007, New York Times: “The best works – Record Prices”
- Penélope Cruz: Vicky Cristina Barcelona (2008) “There’s something very frightening about it.”
- Cai Guo-Qiang: I Want to Believe, Guggenheim Museum
- Jean-Antoine Watteau: The Music Party, Wallace Collection
- Damien Hirst: Golden Calf
- The Hunger (1983): Catherine Deneuve, Susan Sarandon, piece of meat [under Typewriter Eraser]
- Claes Oldenburg: Typewriter Eraser, Seattle Art Museum
- Piero Manzoni: Kunstlerscheisse. {Uh oh, this example is swell headed and leaking} In 1961 he canned his feces. There were 90 small containers of uniform weight, each about an ounce, and priced to sell at whatever the market value of the identical weight in gold was at the time of purchase. What is actually in those signed and sealed cans has been a matter of debate. Opening one would destroy the art, and far as I know no one has. Manzoni — a child of Dada and a father of Conceptualism — was making a joke about values, and part of the deal is that we play along. At the same time he was doing something that art does, creating mystery. And whether you think of those little cans as intellectual puzzles or reliquaries or scams, there are surprises inside. Holland Cotter, New York Times February 12, 2009
- Jean Baptiste Simeon Chardin, Young Man with a Violin, Louvre
- Doris Salcdeo: Shibboleth, Tate Modern. Salcedo has created a subterranean chasm that stretches the length of the Turbine Hall. The concrete walls of the crevice are ruptured by a steel mesh fence, creating a tension between these elements that resist yet depend on one another. Shibboleth asks questions about the interaction of sculpture and space, about architecture and the values it enshrines, and about the shaky ideological foundations on which Western notions of modernity are built.. In particular, Salcedo is addressing a long legacy of racism and colonialism that underlies the modern world. A ‘shibboleth’ is a custom, phrase or use of language that acts as a test of belonging to a particular social group or class. By definition, it is used to exclude those deemed unsuitable to join this group. ‘The history of racism’, Salcedo writes, ‘runs parallel to the history of modernity, and is its untold dark side’. For hundreds of years, Western ideas of progress and prosperity have been underpinned by colonial exploitation and the withdrawal of basic rights from others. Our own time, Salcedo is keen to remind us, remains defined by the existence of a huge socially excluded underclass, in Western as well as post-colonial societies. In breaking open the floor of the museum, Salcedo is exposing a fracture in modernity itself. Her work encourages us to confront uncomfortable truths about our history and about ourselves with absolute candidness, and without self-deception.
- Jean-Honore Fragonard: The Swing, Wallace Collection
- Frederic Edwin Church: Niagara, Corcoran Gallery
- Le Motif Secondaire
The fashion images are from Vogue.
Goofy as Brice Krispies wrestling with his Grand Motif