Artist Zoe Leonard’s 2016 public art project under the Standard Hotel building on the High Line in New York City was a powerful political statement. It’s titled “I Want a President” and it was originally created in the 1990s in response to that era’s political climate in NYC. It was installed as a massive page of text on the High Line to coincide with the 2016 presidential election and 2017 inauguration of the Trump presidency. But it is all the more potent and relevant today in 2018 as it was a year ago or twenty years ago. Few artists so far have been able to voice the frustration, resistance and anger at the current states of governance and leadership in the U.S. in as captivating a way and on such a grand scale as this. Read the full text of the artwork via this PDF.
Artist Gustavo Viselner is a so-called “pixel artist,” and he’s brilliant. The artist has made a name for himself by creating retro videogame-style 8-bit images of memorable scenes from some of the most popular television programs of the U.S. peak-TV era, a.k.a., the current “golden age” of more quality TV shows than a person has time to watch. These include images from shows like “Breaking Bad” and “Stranger Things.” More images on his website.
The official portraits of former U.S. President Barack Obama and First Lady Michelle Obama we’re unveiled Monday at the National Portrait Gallery of the Smithsonian Museum in Washington, D.C. It’s a tradition for outgoing presidents to have their portraits painted and hung in the museum for posterity. For official portraits, the paintings of the Obamas are remarkable, formidable works of art on their own, visually arresting and groundbreaking in style and provenance for the genre.
President Obama’s portrait was painted by a Brooklyn-based African-American artist from Los Angeles, Kehinde Wiley, whose work we’re fans of and we’ve posted here before. The First Lady’s portrait was also painted by an African-American artist, the Baltimore-based painter Amy Sherald. Continue reading
One of modern art’s greatest painters and arguably America’s greatest living artist, Jasper Johns is a giant of the contemporary art world. Recently on the eve of “JasperJohns: Something Resembling Truth,” a massive new exhibition of his work at the Broad Museum in Los Angeles, Johns was interviewed by the New York Times. As he has explained in previous interviews, he doesn’t like offering explanations of what his artwork means. The Times article underscored his sentiments and revealed John’s jokey side with what is now one of our favorite quotes.
Mr. Johns himself is loath to offer biographical interpretations of his work — or any interpretations, for that matter. He is famously elusive and his humor tends toward the sardonic. He once joked that, of the dozens of books that have been written about his art, his favorite one was written in Japanese. What he liked is that he could not understand it.
This massive painting by Japan’s most successful and well-known contemporary artist Takashi Murakami is displayed in the primest spot of the Broad Museum in Los Angeles. It’s huge. It’s epic. It’s unmissable. Anyone entering the museum’s main galleries, where the core selections from the permanent collection are exhibited, will see it as they arrive from the lobby, whether they come via escalator, elevator or a stairway.
So exactly how big is this painting? And what’s it called? Continue reading
“Now I’m Going to Tell You Everything” is the title of this site-mural at the recently opened Institute of Contemporary Art, or ICA, in Los Angeles. The painting is by L.A.-based artist Sarah Cain, and it fills what otherwise might be an unremarkable empty dead space in an exterior courtyard in an unremarkable strip of anonymous industrial buildings in the city’s Arts District. The ICA (the renamed and relocated former Santa Monica Museum of Art) re-makes the space, makes it “remarkable” as does Cain’s massive and energetic mural. The artwork is best viewed in the early daylight hours when the sun directly illuminates it and supercharges the colors.
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These paintings by artist Ellen Gallagher speak to us in deep, immediate, profound ways. The black abstractions of these canvases are beguiling in their darkness and textures. They change hue and tone as the viewer inches closer to the artwork and the reflection of light off the surface of oil paint brightens and reveals previously unseen layers of shape and color. These are on view at the Hauser & Wirth Gallery in Los Angeles’s Arts District. Another one of her “black” paintings is on display as part of the permanent collection of the Broad Museum a few blocks away in Downtown Los Angeles. The artwork pictured here is titled “Kapsalon Wonder.”
In 1988, the artist Jeff Koons created the brilliant porcelain sculptural object “Michael and Bubbles,” a kitschy, super-sized 3D depiction of late man-child and mega-pop-star Michael Jackson and Bubbles, his famous chimpanzee pet-as-sidekick.
Michael and Bubbles were kind of like best friends for a while. Human and chimp as pals. Cross-species buds. Besties. BFFs way before BFF was even a term that would be abbreviated. Continue reading
Among the vast art collection of billionaire businessman, philanthropist and art collector Eli Broad is a large collection of artworks by the late, great artist Jean-Michel Basquiat.
Pictured here are a handful of those Basquiats currently on view at the eponymous Broad Museum of Art in Los Angeles. (Note: You’ll see round, blurry shadow in the lower left of each image. Sorry, that’s due to dust in the camera of our iPhone. Time for a new iPhone!).
Broad is one of the biggest art collectors in the world and has one of the world’s greatest private art collections, especially of contemporary art, post-modern and pop art. Most of it at his museum in LA.
Broad was one of the early collectors of Basquiat and has many of the artist great works. You could call it a keen eye for a great artist and great artwork.Or you could call it a love affair.
The unthinkable has happened. Yes, savvy reader, bona fide post-modern rockstar artist and art-world darling Jeff Koons has collaborated with major, global luxury brand Louis Vuitton, installing his iconic stainless-steel inflatable-bunny “sculptural object” titled “Rabbit” in the brand’s boutique display windows alongside special-made stainless-steel balloon versions of the LV logo. Pictured here is his studio’s handiwork as it currently appears in the display window of a store in Newport Beach, California.
Ahh … And with that we say “Good-bye 2017! Hello, 2018! Happy New Year!”
Japanese artist Yayoi Kusama’s current exhibition at the Broad Museum in Los Angeles is a sensation. It’s a huge bona fide hit. In large part this is due to her super Instagrammable and severely FOMO-inducing art installation known as the “Infinity Room.” Continue reading
Artist Glenn Ligon‘s “Double America 2” is among the most profound works of contemporary American art, and it is profoundly American. It’s absolutely brilliant.
The artwork can read on several levels. At its core is the idea of there being two different Americas or American experiences largely due to race, and, more pointedly, to racism, discrimination and its place in the nation’s history.
It points to the psychology of identity, the sense of black and white, rich and poor, haves and have-nots, exterior image and interior reality, something bright — and brightly lit — and ideal versus something gravely wrong, upside down, dark and flickering.
We’ve seen this artwork several times over the years elsewhere in museums around the U.S. and the world. We recently viewed it at the Broad Museum in Los Angeles (pictured here). It’s the first time we’ve seen Ligon’s artwork since the U.S. Presidential campaign and election of Donald Trump, an event that brought the startling breadth of the nation’s cultural, economic, racial and political divides into the sharpest focus.
“Double America 2” seems a perfectly pointed and symbolic visual meme for the times, for the condition of the United States in the politically divisive, ugly “Trump Era.”
The MoMA (that’s the Museum of Modern Art in the New York-fucking-City) has recently launched a web video series on YouTube called “At the Museum,” and we, savvy reader, are L-O-V-I-N-G it. (See video below!)
It’s a behind-the-scenes look at the innermost workings of one of the world’s greatest art museums as it prepares to mount a major exhibition. It’s documentary-like, but only to a point. The tone is more cinema-verite in a reality-TV-show way, but produced in ultra-understated, high-minimalist style. There’s no narration. No explanation. No formal sit-down interviews. When staff do talk to the camera, it’s while they’re working, doing the mundane daily tasks of their jobs, like the way witnesses in an episode of “Law and Order” always answer detectives’ questions at their place of work while continuing to do whatever it was they were doing (unloading a truck, wiping down a bar, butchering meat, etc.).
“At the Museum” may have documentary and reality TV bones in its basic visual-narrative architecture, but its manner is the polar opposite of the chaos, Real-Housewivery or Kardashian-Jennerisms we’ve become accustomed to from contemporary reality TV. And it’s far away from anything by Ken Burns or Werner Herzog. No pans, no scans, no slow zooms, no German accents, no depressive anecdotes.
Each episode of “At the Museum” is about ten-minutes long and focuses on some aspect of the museum from the mundane to the important, e.g., shipping and receiving of the artwork. There’s high drama, too, but it’s not obvious and it’s largely confined to the nuances of the art world and its culture and codes. There’s much being said and interpreted in the raised eyebrow or long pause in speech by one of the many MoMA staff, some of whom seem like walking-talking art-world cliches straight outta Central Casting.
But these are real people. The type of people who live, breathe, eat, drink, fuck and poop art, and the type who love their jobs, for whom displaying a small Max Ernst sculpture a quarter centimeter higher on a platform makes all the difference. And we love it! Watch this series.
Yes, it’s true, savvy reader. Sometimes we here at Global Graphica like to pick up a pen, pencil or, preferably, a Sharpie and make little drawings of things, everyday objects, people, faces, and so on. We have a habit of making sketches of surfboards and surfers riding waves, as in the example pictured here. And we do so in our Moleskine notebook or on any available paper surface. In the case of the surfer in the sketch above, we drew that on a paper tablecloth while dining out and killing time as we waited for post-dinner dessert to arrive.
Leonardo da Vinci’s painting “Christ the Savior” has just sold at auction for a record $450 million. Just to clarify, savvy reader, that’s $450 MILLION, i.e., nearly HALF A BILLION DOLLARS! For a painting. So, you know, a bargain, right? We mean … what’s the fuss?
The painting, pictured above in a photo appearing with a New York Times article, has been called “the male Mona Lisa.” Continue reading
Some will hate it. Some will love it. Many will be confused. More to the point, it’s creepy AF! But “The Theater of Disappearance,” a recently opened exhibition by the Argentine artist Adrian Villar-Rojas at the MoCA Geffen Contemporary in Los Angeles, is a stunning, ambitious, intriguing and unsettling show on a massive scale and must be seen. Or rather, it must be experienced. The exhibition amounts to a giant art installation of geological and human cultural artifacts presented in some post-human future. Villar-Rojas presents stark vision of humankind’s legacy that is fascinating and terrifying.
We just learned that her new mural has now been completed and the artist has posted a photo (below) of the new artwork on her socials.
The precise location of Maya’s new mural was a bit of a mystery, but we can now confirm that it is in a space at the new Google Flatiron pop-up at 5th Avenue and 16th Street in NYC’s Flatiron neighborhood.
Ok. That is all. Now back to your regularly scheduled weekend.
… More details to come, but here’s a pic from Maya of the work in progress.