The Damien Hirst interviews I’ve posted a few times this week were part of a long piece about Hirst I produced this week for my esteemed publication. It’s pegged of course to the upcoming Sotheby’s auction in London of new work from Hirst’s studio. Time International chose to …
Let’s get back to that conversation with Damien Hirst. Today we talk about his past work and his decision over the past few years to return to painting — not canvases turned out by his scores of studio assistants, which is how most Hirst paintings are produced, …
I caught up this morning with Ann Temkin, the newly appointed chief curator of painting and sculpture at the Museum of Modern Art in New York.
LACAYO: What are your main goals going into the new job?
TEMKIN: The museum is such an outstanding place, the resources here are so inspiring -— what could be a greater …
The two biggest unfilled jobs in the museum world this summer have been the next director of New York’s Metropolitan Museum and the next chief curator of painting and sculpture at the Museum of Modern Art. Now there’s just one. Ann Temkin, a MoMA curator in that department since 2003, will succeed the just-retired John Elderfield — …
In London recently I spent three days visiting with Damien Hirst and the people he works with, first at the townhouse that serves as Hirst’s London offices, then at the studio/display space he has in Stroud, a town in rural Gloucestershire about two hours west of …
At least no labor for me — I’m taking today off. Courbet’s tireless (and, alas, lost) pair will labor in my place. Back Tuesday.
I’ve checked in a few times this summer with “Home Delivery”, the Museum of Modern Art show about prefabricated housing, an idea whose time is always coming but never quite comes. This is what I had to say about it recently in Time.
Did the world need two new accounts of the Han Van Meegeren story? He was the 20th century Dutch forger who turned out a succession of phony Vermeers that for a time were widely accepted. Hard to say, but this summer the world got two of them anyway: The Forger’s Spell by Edward …
The U.K. is in a bit of an uproar over art this week. To encourage tourism to London for the next Olympics, in 2012, the Brits produced a video that was screened recently in Beijing. In a montage of images of London’s cultural scene, someone decided to include a brief glimpse of Marcus …
Well, there’s a good long life. Russell came to the New York Times as a critic in 1974, not long after I had started reading everything I could find about art. I was very soon aware of two things about him. One, he rarely had anything negative to say. The pejorative was a mood that didn’t appeal to him much. And two, he could write. …
I thought I had had my last say on the (ever dwindling) possibility that the University of Iowa might sell its famous Pollock to raise money to recover from flood damage, but a couple of thoughtful responses to my post from yesterday deserve a reply.
That post was a response to a blog post by Felix Salmon at Portfolio.com that supported …
I was visiting Portfolio.com this morning to look over Anthony Haden-Guest’s piece on how the ongoing banking and credit market upheavals may effect patronage of the arts. Big banks and investment houses like UBS, Deutsche Bank and Lehman Brothers are major supporters of art fairs and exhibitions, and major collectors too. The upshot: …
One of the reasons I was in London last month was to look in on the big Cy Twombly show at Tate Modern. And this is what I had to say about it recently in Time.
