J'aime Picasso!

And I especially love A Life of Picasso: The Triumphant Years, 1917-1932. This book, as with the previous two volumes, is too overwhelming to try to reduce into a pithy blog post. Read it (but start with the first volume) and love it. Just to leave you with a taste, here are a few pits I liked.

On Classicism:

Picasso saw eye-to-eye with Stravinsky, who believed "the only critical exercise of value must take place in art, i.e., in pastiche or parody." [How postmodern!] Picasso chose parody.

On Picasso's relations with other artists:

Picasso seldom put lesser artists down. Time and again, he would discreetly give them money, buy their work or get dealers interested, and even marry them off. [Juan] Gris, however, was not a lesser artist. He had absorbed the lessons of cubism at Picasso's elbow and had gone on to take cubism a stage further by dint of calculations, the like of which Picasso and Braque always distrusted. Ironically, Gris's discoveries were so impressive that Picasso did not hesitate to take advantage of them.

On being rich:

Despite the devaluation of his work, Picasso suffered little from the crash. [...] Picasso was about to buy one of the most expensive cars at the Salon de l'Automobile, a large, luxurious Hispano-Suiza coupe de ville. Picasso, who had experienced greater poverty than most of his painter friends, ejoyed driving around, to Olga's dismay, in this ostentatious chaufffeured car wearing an old suit the worse for paint stains, cigarette burns, and plaster dust. As he said more than once, "I would like to live like a pauper with lots of money."

Houses in Motion

When I was an art student, I was fascinated with graffiti and animation, and thought it would be cool to somehow combine the two. I even planned to do an animated version of a Sprawl song, "Big Ass Jewel" (with such lyrics as "Big ass jewel/it's a fascist death tool/shooting multicolored lightning into George Rupp's pool") on an 8' time 4' piece of plywood. Only a camera malfunction kept this from really coming off.

There is no way it could have been one millionth as good as the animation below. This animated graffiti is titled Muto, and is by an artist called "Blu", and was painted on public walls in Buenos Aires. It's mindblowing.


MUTO a wall-painted animation by BLU from blu on Vimeo.

Eat a Botero

Hat-tip to C-Monster. One of his (her?) commenters wrote, "you eat the botero, you become the botero!"

Beautiful Cars, Ugly Cars

This is sad news. I'd call it ironic, but that seems callous. The accident didn't have anything to do with art cars at all. Just a drunk idiot behind a regular old Pontiac.

Tom Jones, the curator of the Art Car Museum, drove Swamp Mutha by Ann Harithas (below) in the Art Car parade Saturday for the last time.

Physically Transformed Books

Kingdom, 2008, altered book

Brian Dettmer makes unusually beautiful sculptures out of books.


Webster Two Point Oh, 2008, altered book


Core 6, 2007, altered book

If there were ever objects made to simultaneously horrify and thrill a book-lover, Dettmer has made them. You can see lots more here. His work is on display at the Kinz, Tillou and Feigen gallery in NYC through June 14.

Hat-tip to C-Monster.net

Hunting Prize Update

No further news about the disqualified artists, but the winner has been announced. The winner is Wendy Wagner, a multi-media artist from Houston. She won for painting, of course--that's what the prize is all about. But I'm more familiar with her as a really cool animator. You can see some of her animation on her website. I first saw them a few weeks ago at Diverse Works. Here's one of her paintings:


Perchabirdability, mixed media on birch panel, 2005.

Congratulations!

Joan Fabian and the Hunting Prize

The Opposite of Peace, 2007, by Joan Fabian

This painting by Joan Fabian was entered into the into the Hunting Prize, where she was one of the artists on their "short list." As I understand it, that means she made it through the first round of judging, in which she had sent them a digital image of the piece, they decided they liked it, and asked for the original to be sent. She sent the piece to them, at considerable expense. At this point, she was disqualified. Why?

I contacted one of the jurors, who were going to chose pieces by viewing the actual works, and he said they never seen my piece. I called a representative of Hunting and she told me that they had nothing to do with the disqualification process and that it was the jurors that did the disqualifying because it wasn't a "painting".

Way to dodge responsibility guys! Now this is admittedly a grey area. On the other hand, artists have been painting on shaped canvases and shaped pieces of wood for a long time, and if such a work was not a painting as far as the Hunting Prize is concerned, it should have been either 1) more clearly spelled out in the rules, or 2) disqualified when she sent the digital file in.

What is the Hunting Prize? It's an art prize given by Hunting PLC, an English oil services company. From 1981 to 2005, it was given in the U.K., but moved to Texas in 2006. The prize is astonishingly generous--$50,000.

So what's the big controversy? It has been suggested that the shaped wooden nature of the painting is not the problem, but the subject. In the jaundiced opinion of local art blog B.S. Houston, Hunting is a prize that exist for the purpose of "impressing very-very wealthy oil executives and their wives." He also points our that the sign up sheet requires you to acknowledge that

Any artwork that includes the use of bodily fluids, degradation of religion or government, and/or depiction of sexual acts or any other medium, presentation or topic objectionable to Hunting PLC will be automatically disqualified from the competition.

So here's the possibly nefarious disqualification. Maybe the Hunting Prize people didn't see the word "WAR" when they got the digital file (I didn't see it at first, either), and when they opened the crate . . . whoops. (Why the word "WAR" should be offensive is another issue, but Hunting seems pretty damn sensitive about potential offense.)

What do I think? Well, whatever their reason for disqualifying the work, they did wrong by Joan Fabian, who went through a lot of expense to have a crate built for the piece and to ship it, at the request of the Hunting Prize. Also, the Hunting Prize folks need to loosen up a bit. And finally, impressing oil executives and their wives (and husbands) is worth doing--also educating them about art. If you are an artist trying to make a living from art in Texas, these people will be among your customers. So as an artist, you need to reach out to them in some way. They don't all have bad taste after all--Jean and Dominique DeMenil proved that.

For me, as a disinterested observer of this scene, I got introduced to an interesting artist. Joan Fabian's work reminds me of a stew of Jim Nutt, Lari Pittman, Elizabeth Murray, and Frank Stella. So on that note, let's close with another one of her paintings.


Playtime, 2005

Update: In the comments, an artist named Carlos tells a similar story:

I have also been given the boot by the HAP folks. The word that I got was that my work was too-3-D...

Yes, it is made up of objects and brakes the plane of the 2-d format. Yes,I did include all dimensions and materials used. Yes, I did spend a large amount of money to ship the work to Houston, Yes, I have to spend more money to get the work back.

This suggests the problem they had with Fabian's work was its three dimensionality, not its politics. But it also suggest the Hunting Prize folks didn't pay much attention to the digital files and information the artists submitted about their pieces. I wonder if any other painters who submitted "non-flat" works were rejected?

2nd Update: You can see Carlos Cuevas' rejected piece here. It has a bit of an Ed Kienholz/Michael Tracy vibe, though without either of those two artists' intensity. B.S. Houston still thinks it was the "offensive" nature of the works that got them rejected. Cuevas's assemblage has some religious elements, but doesn't seem particularly offensive to me. (But the Hunting Art Prize people may be exceptionally sensitive to possible offense, for all I know.) At the same time, HAP must have been blind not to see that this was essentially a mixed media three dimensional work when they got the slide. Curiouser and curiouser!

(Welcome Glasstire readers!)