#artforum

[garadinervi]

Jean-Michel Basquiat, Now's the Time, (acrylic and oil stick on plywood), 1985 [Art Gallery of Ontario (AGO), Toronto. © The Estate of Jean-Michel Basquiat / ADAGP, Paris / ARS, New York]

Exhibition: Jean-Michel Basquiat: Now's the Time, Art Gallery of Ontario (AGO), Toronto, February 2 – May 10, 2015

#art #mixed media #drawing #visual writing #geometry #exhibition #jean michel basquiat #art gallery of ontario #artforum #1980s #2010s

[science70]

Chris Burden, Doorway to Heaven, 1973.

Featured on the cover of Artforum, May 1976.

#art #performance art #photography #magazine #Artforum #Chris Burden #Doorway to Heaven #USA #1973 #1976

[hokeoutsider]

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#drooler #drooler art #hoke art #ebay outsider-art auction #outsider art #art #artbrut #folk art #raw art #naive art #rawvision art #artforum #rawvison #modern art #contemporary art #underground art #original art #new art #fine art

[msclaritea]

Box Office: ‘Civil War’ Starts Off With Impressive $2.9M in Thursday Previews

Alex Garland's controversial movie about the political divide in America easily scored the best preview number ever for A24.

BY PAMELA MCCLINTOCK

APRIL 12, 2024 9:18A

Alex Garland‘s dystopian action movie Civil War has started off its North American box office run with an impressive $2.9 million, a record for indie studio and distributor A24.

The $50 million movie about a divided America is a big swing for A24 as it tries to produce bigger movies, and is its most expensive production to date.

Civil War is tracking to open north of $20 million, although one leading tracking service has a slightly lower range of $19 million to $20 million. As with the preview number, that would be record for A24, beating the $13.6 million opening of A24’s horror pic Hereditary in 2018.

A24 and writer-director Garland held the movie’s world premiere last month at the South by Southwest Film and TV Festival, an ideal venue since many of the attendees are younger adults, the film’s target demo.

Set in the near-future, the story follows a wartime photojournalist (Kirsten Dunst) and her colleagues as they make their way across a hostile and divided United States of America that has been torn apart under the authoritarian rule of a three-term president (Nick Offerman). Yet the film shys away from red state/blue state divisions, and the politics behind the conflict are generally left unexplained, other than to say that one of the president’s first first actions was to disband the FBI in an apparent nod to former President Donald Trump, who has called to “defund” the Bureau.

Civil War‘s timing surely isn’t a coincidence as it hits cinemas amid a contentious election year in which President Biden and former President Trump are once again the leading candidates for their respective parties as Trump seeks to return to the White House

At a SXSW panel following the film’s premiere, Garland said it made sense to release Civil War now, although it’s not as if there is anything new about the contentious political discourse gripping the country.

“I think all of the topics in in [Civil War] have been a part of a huge public debate for years and years. These debates have been growing and growing in volume and awareness, but none of that is secret or unknown to almost anybody,” Garland said. “I thought that everybody understands these terms and, at that point, I just felt compelled to write about it.”

Cailee Spaeny, Jesse Plemons and Wagner Moura also star.

2012–2013: Founding and early years

A24 was founded on August 20, 2012, by film veterans Daniel Katz, David Fenkel, and John Hodges. Katz formerly led the film finance group at Guggenheim Partners, Fenkel was the president, co-founder and partner at Oscilloscope, and Hodges served as "Head of Production and Development" at Big Beach. The name "A24" was inspired by the Italian A24 motorway Katz was driving on when he decided to found the company.

Guggenheim Partners provided the seed money for A24. The company was started to share "movies from a distinctive point of view". In October 2012, Nicolette Aizenberg joined as head of publicity from 42West where she was senior publicity executive.

The company began its distribution of films in 2013. The company's first theatrical release was Roman Coppola's A Glimpse Inside the Mind of Charles Swan III, which had a limited theatrical release. Other 2013 theatrical releases included Sofia Coppola's The Bling Ring, Harmony Korine's Spring Breakers, James Ponsoldt's The Spectacular Now, and Sally Potter's Ginger & Rosa.

In September 2013, A24 entered a $40 million deal with DirecTV Cinema, where DirecTV Cinema would offer day-and-date releases 30 days prior to a theatrical release by A24; Enemy was the first film to be distributed under the deal. That same year, A24 entered a deal with Amazon Prime, where A24-distributed films would be available on Amazon Instant Video after becoming available on Blu-ray and DVD.

2014–2017: Television and later productions

In May 2015, A24 announced that it would start a television division and began producing the USA Network series Playing House, as well as working to develop a television series that would later become Comrade Detective, produced by Channing Tatum. The company also announced that they would also finance and develop pilots.

In January 2016, Sasha Lloyd joined the company to handle all film, television distribution and business development in the international marketplace. The company, with cooperation from Bank of America, J.P. Morgan & Co. and SunTrust Banks, also raised its line of credit from $50 million to $125 million a month later to build upon its operations. In April, the company acquired all foreign rights to Swiss Army Man, distributing the film in all territories, and partnering with distributors who previously acquired rights to the film, a first for the company. In June, the company, along with Oscilloscope and distributor Honora, joined BitTorrent Now to distribute the work of their portfolio across the ad-supported service.

Eileen Guggenheim Breaks Silence, denies Introducing Women To Epstein

New Court Documents Reveal More About Epstein's Relationship With JP Morgan Chase

Beef is Criticized After star's Resurfaced Rape Comments B

Does HBO's Euphoria Really Glamourize Drug Use?

Euphoria Season Two Review: Far Too Much Nudity, Sex and Violence

Michelle Yeoh Says Hot Dog Fingers Scene With Jamie Lee Curtis Was ‘Most Beautiful Love Story

Not much time is shown in this universe. All the audience knows is that Evelyn works at a pizza shop. She is shown wearing a ridiculous costume and waving around a sign.

"A24 and writer-director Garland held the movie’s world premiere last month at the South by Southwest Film and TV Festival, an ideal venue since many of the attendees are younger adults, the film’s target demo..."

Penske Media Corporation (PMC /ˈpɛnski/) is an American mass media, publishing, and information services company based in Los Angeles and New York City. It publishes more than 20 digital and print brands, including Variety, Rolling Stone, Women's Wear Daily, Deadline Hollywood, Billboard, The Hollywood Reporter, Boy Genius Report, Robb Report, Artforum, ARTNews, and others. PMC's Chairman and CEO since founding is Jay Penske.

President Trump awards Medal of Freedom to Roger Penske | Fox News Video

In addition to media publications, Penske Media Corporation owns the Life Is Beautiful Music & Art Festival and is a 50 percent stakeholder in South by Southwest. It is also the owner of Dick Clark Productions which includes the award shows Golden Globe Awards, American Music Awards, Streamy Awards, Academy of Country Music Awards, and the Billboard Music Awards.

Jay Penske--NACSCAR Heir ARRESTED...and It's A Pisser

@aeltri I'm a bit fuzzy on the details. What was that you told us, recently, about Pizza and Hotdogs?

#Civil War Movie #Alex Garland #South By Southwest #Jessie Plemons #Kirsten Dunst #Eileen Guggenheim #Guggenheim Partners #Jeffrey Epstein #JP Morgan #Jamie Dimon #Beef netlfix #Everything Everywhere All At Once #EEAO #Jamie Lee Curtis #Michelle Yeoh #Euphoria #A24 Productions #Carl Jung #Racist Cultist Quack #Penske Media #Variety #Rolling Stone #Hollywood Reporter #Deadline #ArtForum #ArtNews #Dick Clark #Golden Globes #SXSW #American Music

[agentfascinateur]

The Art World in support of Palestinians:

(which got Artforum's editor fired)

#palestine #israeli apartheid #palestinians #israeli occupation #war crimes #ceasefire #free gaza #humanitarian crisis #humanitarian aid #gaza #artforum #art community #artists #art gallery #art writing #museums #benjamin netanyahu #anti war #protests #support for palestinians

[lisamarie-vee]

#gerhard richter #artforum

[tom-isaacs]

Child Abuse: A Project by Louise Bourgeois for Artforum

#louise bourgeois #research #psychoanalysis #child abuse #artforum #art #sculptor #text

[jacobwren]

#artforum #david velasco #gaza ceasefire #boycottartforum

[ludyer]

#artforum #francesca woodman #frog king kwok #ai weiwei #kader attia #frank gehry #michael hansmeyer #robert morris

[citylawns]

Artforum, April 1987. Andy Warhol cover issue commemorating his death, for sale via Spring Journal, £55.

“This edition includes incredible reflections and features on Jean-Michel Basquiat, Andy Warhol, the Four Giacometti’s and Anni Albers as well as book previews from works by Le Corbusier and old advertisements for art auctions.”

#upload #artforum #andy warhol

[garadinervi]

Lawrence Weiner, WHAT IS SET UPON THE TABLE SITS UPON THE TABLE, (limestone, wood, nails; stone, table), ca. 1962 [«Artforum». © Lawrence Weiner / ARS, New York]

#art #structure #sculpture #lawrence weiner #artforum #1960s

[henryrodhamkissinger]

SOME ADORNO SHIT 😱😱😱

Happy Feodor Friday!

Theodor W. Adorno, praise be his name, quoted in Bürger 🍔, Theory of the Avant-Garde:

Adorno here saying that surrealism is artificial. No dip sure lock! Nah it’s like this. Adorno is a vehement evangelist for the avant garde in the arts; but for Adorno, the avant garde still has to express what is true: in fact, this is why Adorno advocates for the avant garde. For Adorno, the world is one of ‘objective unfreedom’ — more particularly, the crushing and fascistic sameness and fungibility of all things as they must bend to the iron law of exchange value. You might then think that Adorno would hold that only art works which somehow convey or portray that objective unfreedom are ‘true’ in his sense. Yes and no: for if that were only the case, then Adorno would have no problem with pictorial painting that portrays quotidian tyranny and subjugation, or, in music which was his specialty, any schmaltzy gothic or warlike triumphalist music would pass muster. No, for Adorno, somewhat paradoxically and perhaps simply nonsensically on his part, an autonomous art work is itself something of liberation.

An atonal serialist piece of music (Schoenberg, etc) or an expressionist painting (Kandinsky) or avant garde work of literature (Joyce) — these things, for Adorno, mark truth in the sense precisely that they subvert the world of exchange, that they refuse harmony and embrace dissonance and ‘laceration.’ Because what the ‘culture industry’ sells is escape, escape into a comforting and thought terminating sameness, the comfort of representation and repetition. That which is lacerated, dissonant, atonal etc reflects what is wholly ‘true’ in being itself as against being a facsimile of the world sold back to us. This is closely related to Adorno’s critique of Enlightenment modernity’s replacement of the qualitative with the quantitative. From the magisterial essay The Concept of Enlightenment (with M. Horkheimer):

Do you get it? I’ll translate, I’m used to this guy. The illusion of magic he refers to here is the socially inscribed primitive process of endowing some particular thing, like one single tree, with its own essence and quality, or mana. As this vanishes with enlightenment modernity, quantitative repetition reigns: a tree is only a specimen of the scientific object called ‘trees’ (yeah they’re just called trees dude, no Latin.) But note the highlighted section here: very importantly, he emphasizes how this notion of the ‘return of the same’ is already implicit in myth (or in totemic society.) Adorno doesn’t wish, then, to ‘return’ to the animism and ‘essentialism’ (in the sense of ‘an essence’) that came with primitive myth.

So the standard for truthful art can’t be that the work of art answer only to its own qualitative internal logic. Rather, it is ‘mediated,’ a fancy dialectics term that essentially means that the thing in question does not simply stand on its own unmolested by anything—it is always necessarily mediated by social conditions. I think the key to this puzzle is this: an art work cannot help but be mediated. Once a painting hangs in a gallery or a song plays at a concert, it is no longer answering only to itself, rather, it, as a work of art, is changed by the interaction it has with what is not-it, by what is outside of it and helping thereby to constitute it as such. The question then becomes, of course, by what is an art work mediated? By consumer society? So you can see perhaps now how it comes around: an art work which pushes towards subversive form and content, it is thereby far less likely to be effaced by the mediation of Capital or of ‘mass culture.’ Safeguarding against the latter is no easy task (take it from me, I am swamped in interview requests, book deals, and big music label contract offers!) That’s why Adorno is such a snobby bitch with the rigorous twelve-tone atonal music stuff and all that. It resists being…listenable…imagine if Gerwig pitched the Barbie movie where Barbie is an electrical wire hanging out of the dirt and all that happens is that an eyeless medieval police officer shouts “BARB!” into a megaphone. You know

So let’s get to the surrealism thing in brief, from the Peter Bürger 🍔 citation up top. There are radically different modes of surrealism that I believe pass muster varyingly with Adorno’s aesthetico-political concerns. And I’m gonna illustrate that with some pictures.

In my head canon I very reductively sometimes split early 20th century surrealist paintings into the Mexican and the European schools. Just as a shorthand. The two paintings below come from the former school, the first (left) by Max Ernst, who was a part of the Mexican ‘scene’ with his wife Leonora Carrington, Frida Kahlo, and the painter of the second of the ‘Mexican’ pieces here, Remedios Varo.

Now I love this shit, of course, but it’s easy to see why Adorno would not be as enthused about the radical potential in this (very broad) style (that I’m simplifying for brevity and effect.) Ernst portrays two giant beasts, a multiple-eyed chicken-like thing and a frighteningly shrouded Beast Witch; in Varo’s, a solemn sorceress mixes a potion that fuels the rotation of parchment upon which dead faced women servants write incantations, all in a tower looming atop a hilltop village that appears to be waning into the abyss. There’s obviously an element of fantasy, of imagined dream-magic and atavism that one might suspect would fall too easily into the ‘escapist’ sort of category for Adorno.

This next set, the ‘Europeans,’ is two paintings by the classic era surrealist Kay Sage, and the contemporary artist Claire Trotignon (one of my very favorite contemporary visual artists):

Kay Sage, drawing upon de Chirico before her, as well as her husband Yves Tanguy, paints these haunted, uncanny landscapes without determinate objects. The forms and contours of the modern, enlightened built world, stripped of their signification, stripped violently and denuded of their ostensible promise to be a site of human freedom. Trotignon’s pieces simultaneously erect and dismantle structures of ambiguity, emptiness and dissonance — similarly to Sage’s. They harrowingly and somewhat beautifully express Adorno’s “negative” dialectic — wherein, again, “a consciousness of denial” is at issue in the mediate artist-viewer co-constitution. They resist being iterations of something by resisting being something, apart from that lost or negated sense of rational sensibility that recedes into the abyss in capitalist modernity.

#Adorno #critical theory #feodoradornofridays #abstract art #hiremejuxtapoz #artforum #needworkfrieze #avant garde #kay sage #max ernst #remedios varo #claire trotingnon #Peter burger

[zurich-snows]

#wolf vostell #artforum #article #articles

[hokeoutsider]

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#haircut #hair art #haircut art #hoke art #ebay outsider-art auction #outsider art #artbrut #original art #folk art #rawvision #raw art #vernacular art #fine art #underground art #contemporary art #modern art #art naive #artforum #art

[cosmicanger]

David Velasco, one of the letter’s thousands of signatories, was fired after six years as the editor of Artforum.Credit...Pietro D'Aprano/Getty Images for Fondazione Prada

Artforum Fires Top Editor After Its Open Letter on Israel-Hamas War

David Velasco was removed after the magazine’s publishers said there was a flawed editorial process behind the publication of a letter that supported Palestinian liberation.

By Zachary Small

Oct. 26, 2023

One of the art world’s top magazine editors was fired Thursday night after the publishers of Artforum said that the staff’s decision to post an open letter about the Israel-Hamas War failed to meet the organization’s standards.

The editor in chief, David Velasco, said he had been terminated after six years as Artforum’s leader. He had worked at the publication, considered among the world’s most prestigious art magazines, since 2005.

“I have no regrets,” Velasco said in an email. “I’m disappointed that a magazine that has always stood for freedom of speech and the voices of artists has bent to outside pressure.”

Thousands of artists, academics and cultural workers, including Velasco, signed the Oct. 19 open letter, which supported Palestinian liberation and criticized the silence of cultural institutions about the Israeli bombing of residents in Gaza.

The letter initially omitted mention of Hamas’s surprise Oct. 7 attack, which killed more than 1,400 Israelis, information that was added after criticism from subscribers and advertisers. A preface was also added to say that the letter “reflects the views of the undersigned individual parties and was not composed, directed or initiated by Artforum or its staff.”

It is not clear who wrote the letter. In it, the signatories “call for an end to the killing and harming of all civilians, an immediate cease-fire, the passage of humanitarian aid into Gaza, and the end of the complicity of our governing bodies in grave human rights violations and war crimes.”

The magazine’s publishers, Danielle McConnell and Kate Koza, did not immediately respond to a request for comment. In a post on the magazine’s website Thursday evening, they criticized the decision as “not consistent with Artforum’s editorial process.” The letter “was widely misinterpreted as a statement from the magazine about highly sensitive and complex geopolitical circumstances,” they said in the post, which made no mention of Velasco’s termination.

“Our publication has a proud history of advocacy,” they added. “That the letter was misinterpreted as being reflective of the magazine’s position understandably led to significant dismay among our readers and community, which we deeply regret.”

The Oct. 19 open letter met condemnation, drawing responses by figures in the art world. On WhatsApp, campaigns were organized to dissuade advertisers from working with the magazine.

“I think it was a complete betrayal of their readers,” Michael Phillips Moskowitz, a curator and collector, said. “It was characterized by hubris with no understanding of what led to this moment.”

Several prominent artists later removed their names from the Oct. 19 letter, but it remained popular among many of the people who signed it, including those who said that the intention was to advocate peace.

“Tampering with the opinions of artists is to not understand the role of art,” said Cecilia Vicuña, a Chilean poet and artist who signed the letter, adding that she valued “the right to freedom of speech.”

Velasco joined Artforum in 2005 as an editorial assistant and became editor in chief in 2017 when the magazine’s leadership was accused of ignoring issues of misconduct amid a sexual harassment lawsuit against its publisher at the time, Knight Landesman. The lawsuit was later dismissed, but Velasco had to rebuild trust in the publication’s brand. He was largely successful, restoring Artforum’s reputation as an authoritative source of art world intrigue and criticism.

Before Velasco was fired, some artists defended him in a letter to Jay Penske, the mogul behind Penske Media Corporation, which recently acquired Artforum, saying that Velasco had “established a fearless and uncompromising vision for the magazine.”

“David’s leadership at Artforum is needed now more than ever,” the letter said.

#artforum #art #theory #news #article #gaza #palestine

[artforum]

#andrewcampbell #andrewcampbellart #andrewcampbellartist #andrewcampbellbritishartist #prototypes #visualbites #netscapes #artforum #contemporaryart #art #artforsocialmedia