#kenny schachter

[creativespark]

Kenny Schachter

[otrtbs]

Nat is back with thoughts™️ on the Van Gogh soup incident and now the Monet 'Mashed Potato' incident.

I know some of you have already asked me what I thought about the protesters throwing soup on the Van Gogh painting, but I am back with more coherent thoughts in light of the new but similar Monet incident.

I was reading a post by Pulitzer Prize winning NYT Art Critic, Jerry Saltz (which I will quote from frequently in this rant of mine) and wanted to further comment because I'm just so frustrated and need a place to vent.

First to talk about setting a bad precedent, this is exactly what I was worried about back in May when climate protesters threw cake on the Mona Lisa. Then the Van Gogh incident earlier this month and now the Monet incident a few weeks later.

If the first two 'protests' proved anything, it's that these forms of activism are not successful nor remotely beneficial to the cause.

"They're gaining exposure! The point is global attention and they got it! It's successful because everyone is talking about it!"

I think it's important to focus on what exactly everyone is talking about. The art. Obviously the art world is focused solely on the art, but every media outlet is focusing heavily on the painting and possible damage and adds the protesters message as a byline, if they add anything about what the protesters hope to achieve at all. All it takes is one scroll through twitter to see that the general public sentiment is outrage towards the protesters and even, towards the cause at large.

It paints climate activists in a negative light. As destroyers of culture. As people willing to turn to iconoclastic methodologies of the past to prove a message. In this case, all media attention isn't good. Furthermore, outrage has gone so far that other climate activists on social media have accused the women who threw soup on the Van Gogh of working for big oil companies. (If this is true, I wouldn't be surprised. If it's not, their message was utterly lost by the actions of their 'protest' and there is minimal public support to be found on either side of the climate issue.) The general public knows about climate change! These forms of activism only serve to paint those working to fight climate change in a negative light.

This is because, as Saltz says, the general public is:

"...against this form of protest. I am against the destruction of the Earth. I am for all forms of beauty. Two things can be true at the same time."

Secondly, we have to consider what the rise in these forms of protest mean for museum and gallery spaces! It means more distance between you, the museum goer, and the painting. You'll have to stand farther away than before. It means more preemptive protective glass casings and screens over more works of art (Inhibiting your view of the meticulous paint details even further). It means more extensive and harsher policing of museum patrons in gallery spaces by security which is already a significant contributing factor in keeping POC and the younger generation out of art museums. Our access to art will be hindered and reduced out of fear of damage and destruction. That is the impact these protesters had/have with this particular form of activism.

Thirdly, we have to think about what happens when the art that gets damaged by these protests is art that isn't protected by glass. Or when protest measures go a step further to actually destroy and maim a piece of artwork. To quote Jerry Saltz:

"I believe that this will inevitably lead to the actual destruction of art. Iconoclasm in protest is as old as our species. Maybe 1% of 1% of 1% of 1% of all the art ever made survives. All the plays of the Greeks- except the few we have- were destroyed as Pagan."

It is possible that we are witnessing a rebirth of an iconoclastic era that future generations will discuss. The impact of these protests have the potential to be catastrophic for art and cultural history and past iconoclastic movements in history have proved that multiple times over!

Finally though, Saltz talks about something I think is really important to remember. We are all at the hands of banks and oil companies, and governments, and industries in power that destroy the Earth. He says:

"These entities tell us to compost, save the environment, don't use straws...while their own ways go unchecked as they make more profits."

These powers that be want us fighting amongst one another. They want public outrage and backlash against these protesters because as long as we continue pointing fingers at one another, no one will point fingers at them. Which is maybe why so many headlines are focused on the shock value of destroying art. We are not any different than the protesters at our core. We're all suffering under the same system that is causing harm. I think it's important to remember that while we shouldn't condone the protesters actions, it's easy to be extremely harsh on powerless people trying to lash out at a suffocating system of power.

I agree with Saltz in that both lines of thinking can be true. You can disagree and be pained by their methods, while understanding to a certain degree why these forms of 'protest' keep happening.

[gregdotorg]

Paul Thek's Birthday Cake of Flesh, c 1964

[weeculture]

Salvator Mundi

1500 Leonardo da Vinci Técnica: Óleo sobre nogal Tamaño: 45.4 × 65.6 cm

“La pintura fue vendida en subasta por Christie's en Nueva York, el 15 de noviembre de 2017 por 450 312 500 USD, convirtiéndose en la pintura más cara jamás vendida.8​9​ Tras su adquisición la pintura no ha vuelto a ser expuesta y se ha mantenido oculta por sus propietarios. Kenny Schachter, en 2019 apuntó que se encontraba en una de las cubiertas del yate de lujo Serene, propiedad de Mohamed bin Salmán, príncipe heredero de Arabia Saudita, el supuesto comprador”

wiki

[pikasus-artenews]

KENNY SCHACHTER . Keep Hope Alive/Mantenere viva la speranza

Kenny Schachter è un artista digitale, curatore, docente e critico americano profondamente coinvolto nella criptoarte e negli NFT

[mrcaneteblogposts]

Kenny schachter paso por el curso de todos los cursos

[jamescrump0]

James Crump

Website: https://news.artnet.com/news-pro/kenny-schachter-james-crump-jordan-wolfson-2002471

James Crump is an American filmmaker, writer, producer, art historian, and curator. James Crump has directed multiple documentaries and contributed to modern and contemporary art. James Crump is also an author of various books.

Art & Film #James Crump

[galvenporter]

Kenny Schachter Challenges Opposing Art Factions in NFT Game Battle - NFT Plazas

Kenny Schachter Challenges Opposing Art Factions in NFT Game Battle · Art Blocks and Pace Verso Join Galven Porter on a Cryptic Journey into NFTs ...

[visionade]

[wroteonedad]

Forever Changed; exhibition review

i've been spending the last few weeks reflecting on the way i live my life and what i do with it. i've been feeling trapped, especially with my job and also because we're in the midst of a heatwave, it makes me feel pretty angry and tired and stressed. on a whim i had decided to apply for a few new jobs, half jokingly. i had sent off an application to brewdog bar and told them that my favourite beer of there's was an ipa i'd never even tried because it was 'refreshing and light, perfect for the summer'. i actually did hear back from one of the places i applied for and i went for my interview today. and despite after wanting to change everything and jump into a new job, i found myself saying that i wanted to be part time in both places because i like the stability. maybe i'm scared of change, i definitely am. when walking into the gallery, i was greeted by the exhibition title of Forever Changed, a name of a song written by Lou Reed and John Cale about the passing of Andy Warhol. it studies the way in which the art industry and the way in which people viewed art died along with Warhol.

the collection of works features both futuristic and the recent past, using both its mix of covid-19 enhanced works and the rise of AI to create something that is almost deeply disturbing. this is the future and we are just little specks of the universe.

i start by analysing the most pop art style piece in the exhibition, the sets of works that are the most Warhol next to the big exhibition description about Warhol. these works, Rock Gunslinger Pink and Red (2012) and Rock Gunslinger Yellow and Green (2012) are both creations by British based Gavin Turk. this works looks to be an Warhol pop art style original of Elvis Presley, but it is neither a Warhol work or a silkscreen print of Elvis. rather it is Turk himself using the identity and appropriation card by posing as Elvis. his style has been based around re appropriating works that already exists. the many collections of Turk's work reminds me of Cindy Shermans Untitled Film Stills, a collection of works in which Sherman makes self-portraits of herself, dressed and portraying herself as a selection of women in movies from the 1950s-1960s hollywood era.

following on from the appropriation works of Gavin Turk, you are then greeted by Mark Jenkins and his terrifying faceless figures.

at first, you have One Leg (2011), a mixed media piece, which at first glance and upon entrance into the gallery, you think it may just be an invigilator sat down in a corner, but you soon realise that is not the case. his works and installations are typically placed in public spaces, and more often than not, without direct permission. the works almost become a social experiment, seeing how people react to the ways in which Jenkins figures are stood, the way in which they hold themselves, if you were to even notice it at all. the faceless aspect creates a form of mild horror, they are there to be off putting. in fact, there are about five different figures of his, all dotted around various and random parts of the gallery, submerged between the works of others.

this piece is Lipstick (2021), this piece in particular is maybe one of the more interactive pieces. again it is one of those figures that you think is a person visiting the gallery, but as you walk around the mirror, you become aware that is another Jenkins piece. his collection of figures have been a long running project, featuring men submerged into puddles, a man stretched out as if he is the body of a bike rather than a human and two headless figures submerged into one. i'm still not sure if i love or hate this collection, but time will tell.

the next piece i wish to discuss, Pay Nothing (2021), an appropriated work by Kenny Schachter. i think this may have been one of my pieces in the exhibition simply because it is exactly the same as Ed Ruscha's Pay Nothing Until April, but with one section crossed out and painted over.

i saw the Ruscha original when i visited Tate last summer, and i took pictures of the show, and i know that i never took the images because i liked what i was looking at, instead i was quite repulsed by the collection. large text, basic Microsoft font that looked like direct quotes from angry old men who spend their days drinking Fosters and reading The Sun. but they all featured a background that looked like they had been directly ripped off the affirmations instagram page.

besides the point, this piece of appropriated work is a direct response to the Covid-19 pandemic. rent strikes, the closure of hospitality, an economy completely stalled, a country that fell silent. which in a way, juxtaposes the original message Ruscha was describing with his work. his piece was about the American's paying their taxes in April, which also fell into the Covid-19 lockdown timeline. the work is big, bold, angry dad core, but the message is slightly different because i think the British public can resonate with this piece more.

i was then greeted by the huge interactive piece in the gallery, and i liked it, but there was no way that i would have the confidence to interact with it in the way it was intended to be.

this is Be Angry, an ongoing project that was begun by Mark Titchner in 2003. there isn't too much detail to go into with this piece because this is simply made for the audience, you, to go on the stage and be angry. the microphone is live and plugged in so anything you had to say would be amplified across the entire gallery for everybody else to hear. you could either be angry at the world and talk about the economy or you could stand there and give everyone your best Seinfeld impression, and i'm sure somebody has. Sophie's choice.

moving onto my favourite piece in the gallery, we have Autoplay by Fabio Lattanzi Antintroni

it is an LED display and it features lyrics, but they're from songs that don't exist. this is because the piece is an ai generator, using words and phrases that it has analysed from the likes of Google Ads to create lyrics and display them in a karaoke form on an LED screen. the work explores how power, belief and reality are all shaped by society. it is my favourite piece because of how lowkey it is, it is again a type of piece that you could look at and unless you were assessing the words coming up properly, you may not even realise that the words do not flow properly.

upon deeper view, the show is a weird and wonderful land, full of contemporary works featuring things that are inventive and fresh, others, maybe not so. you walk around and get a constant jumpscare from the works of Jenkins, all dotted around bizarre parts of the exhibition, with a mix of AI generated lyrics and a montage of the Sun logo, scaled to the size of a real life prison cell. it is a mix of multi-media works both bringing in the past and the future to create a collection of works that are loud and proud. it is a wonderfully curated selection that for the most part flow very well together and i'm looking forward to spending half of my summer in there, reassessing the works in front of me and seeing if i form any different opinions on the works. and i have plenty of time to do so. Forever Changed is there for everybody to see in Giant Gallery, Bournemouth until 16th October 2022.

[missboomissquick]

Kenny Schachter, Larry Came Up to Me, 2018

[dikeoucollection]

Dikeou Superstars Monthly Roundup

A quick snapshot of what Dikeou Collection artists have been up to over the past month, and what to look forward to next month.

Devon Dikeou, Between the Acts (Virginia Wool): Jay Leno, 2014 Ongoing; Devon Dikeou, “WHAT'S LOVE GOT TO DO WITH IT?”: From Sculpture, 1991 Ongoing. Image courtesy of the artist

Work by Devon Dikeou will be exhibited in “Unsafe at Any Speed” curated by Kenny Schachter, opening at Morton Street Partners on March 15

Image courtesy of V1 Gallery

“Hairy Tales,” a solo exhibition by Misaki Kawai opens at V1 Gallery in Copenhagen on March 4

Image courtesy of the artist and news.sky.com

Chris Gilmour’s incredible cardboard constructions are now being used to create sustainable set designs for film and television

Image courtesy of Instituto Cervantes NY

Work by Ester Partegas is currently on view in “That” at Instituto Cervantes NY through April 2

Image courtesy of Sadie Coles HQ

Jonathan Horowitz and Simon Periton have work on view in “Repeater” at Sadie Coles HQ, London, through March 26

Image courtesy of Drew Broderick, Hawaii Contemporary

Lawrence Seward and Momoyo Torimitsu photographed with their work (Seward’s “Seward Sun” and Torimitsu’s “Somehow I Don’t Feel Comfortable”) at the Hawaii Triennial

Vik Muniz, “The Birth of Venus, After Botticelli” Triptych from Pictures of Junk, 2008. Image courtesy of the artist and Ben Brown Fine Arts

Vik Muniz: A Brief History of Art is on view at Ben Brown Fine Arts London through March 11

Image courtesy of the artist

“The change in policy says that we want everyone to have access to art-making and it’s not the privilege of the wealthy to be able to afford good art supplies.” - Lisa Kereszi, senior critic and director of undergraduate studies in art, on Yale School of Art’s recent course fee elimination

Anicka Yi, “Le Pain Symbiotique” (detail), 2014. Image courtesy of the artist and Pirelli HangarBicocca

Anicka Yi “Metaspore” at Pirelli HangarBicocca, on view through July 24, features more than 20 installations spanning the last decade of her career

[otrtbs]

Hello this is probably a very vague question but I figured ur the best person to ask, you just came into my head as I was thinking about it! Long story short, I kind of really wish I’d picked Art History as one of my A-Levels (I picked Psychology instead and will regret it till the day I die lol) and I just wondered if you had any recommendations of how to get into the subject?

Artists to look up or just anywhere that has cool resources for someone who knows *nothing* about it but rlly wants to 😭 sorry this is probably hard to answer but thank you anyway!! <33 I hope ur doing well!

omg ahh hello!! i am going to ramble

so, if you want to start with artists, it's probably best you pick a time period or movement that you really enjoy and then you can read about the artists who pioneered those movements. BUT i will give you some of my favorite artists to read about!

Caravaggio- anything about him! if you want to look him up peruse his works! he's quite a character. he's a murderer for starters. he also gets arrested for throwing artichokes at waiters, writing slanderous poems, hiring assassins to kill his rival painters, throwing rocks at cops, and for falling on his own sword (that he had illegally). also the pope literally orders his death so he has to run away. if you like drama and absurdity and baroque art he's your guy!

Artemisia Gentileschi- if you want to see baroque art of women made by a woman she is your girl! the way she paints women naturalistically instead of highly stylized is so progressive and in a time when women weren't allowed to do anything, her achievements as arguably the greatest baroque painter ever are really impressive. her backstory is a pretty tragic and upsetting one, but she's amazing!

Van Gogh- if you like post-impressionist art, which tends to be a lot of people's favorite movement then Van Gogh is a good one! highly recommend reading the letters vincent van gogh wrote to his brother, and art dealer, Theo. they make me cry and i love them!

If you like more modern art, Marcel Duchamp is a fun one to read about. He had an alter ego named Rosé Selavy (sounds like eros, c'est la vie play on words! very cool!) and he kinda kicked off the modern art movement! Andy Warhol of course (notably his time working with Basquiat, homie also gets shot by the woman who wrote the Scum manifesto) Martha Rosler did some amazing things in the 70s (semiotics in the kitchen is a personal favorite of mine) and The guerrilla girls!!!!! (if you like the 90s feminist movement) you can find some books and podcasts and other resources i like here! and here! for just looking at art, exploring different artists and movements and even virtually touring museums, google arts and culture!!!! you can sort paintings by color, artist, movement, time period, location, etc. and they have several museums that you can do a virtual walk through of. also just reading the descriptions of things gives you a feel for how people talk and write about art! if you're looking for good art criticism i recommend looking into Jerry Saltz, Kenny Schachter, Roberta Smith, John Berger, Lucy Lippard! Khan Academy is the best free resource and has entire free course dedicated to art history that you can go through here! they break down how to look at art, different approaches to it, teach you about chronological periods etc. (literally everything you could want to know!)

[ruthmedia2]

The Lost Leonardo (15)

The Lost Leonardo (15)

The Lost Leonardo (15) Director: Andreas Koefoed Runtime: 95 minutes Cast: Dianne Modestini, Yves Bouvier, Evan Beard, Robert Simon, Alexander Parish, Warren Adelson, Luke Syson, Martin Kemp, Frank Zöllner, Maria Teresa Fiorio, Jacques Franck, Kenny Schachter, Bruce Lamarche, Jerry Saltz, Robert K Wittman, Alexandra Bregman, Georgina Adam, Alison Cole, Bradley Hope, Doug Patteson, Stephane…

[longlistshort]

(Artist Pierre Daquin's tapestry "La Vue" courtesy of Galerie Chevalier as part of The 13th Floor project)

Several art fairs took over Los Angeles last weekend, two of which used hotels to create temporary galleries and installations.

At the The Hollywood Roosevelt was the first edition of Felix, a free art fair co-founded by Dean Valentine along with brothers Al Morán and Mills Morán (of LA gallery Morán Morán). Galleries took over rooms along the pool, on the 11th floor, and the penthouse.  Starting at the penthouse was The 13th Floor (pictured above), a collection of work by French artists curated by writer Andrew Berardini and presented by The French Committee of Art Galleries and the Cultural Services of the French embassy.

Kenny Schachter had some fun pieces in his room on the 11th Floor including Ilona Rich's sculptures, one of which was in the bathroom shower (pictured above), and a framed collection of artist Chris Burden's cancelled checks.  

Bodega gallery, from New York's Lower East Side, had a selection of interesting work including paintings by Alexandra Noel (pictured below).

Grice Bench's selections included a collection of lovely watercolors by Roger White and a painting placed above the bed by Lara Schnitger (pictured below).

On the ground floor Marc Selwyn Fine Art presented Jennifer Aniston's Used Book Sale, artist Kristen Morgin's incredibly realistic ceramic replicas of books she imagines might make up the actress' collection (the VHS tape is real).

At a hotel in a completely different part of town was the stARTup Art Fair, taking place at The Kinney in Venice. Here, instead of galleries representing the artists, it's the artists that set up their rooms and sell their art.  It made for a great experience as the artists were all very friendly and eager to discuss their work. Below are a few highlights from the fair.

San Francisco artists Lisa Kairos and Melissa Mohammadi's room was filled with really beautiful work. Kairos makes dreamy multilayered paintings based on natural landscapes. She then cuts patterns into the images which adds yet another dimension to the paintings. Mohammadi's work incorporates botanical and marine life into a meditative world where bright pastels stand out among subdued watercolor backgrounds; highly detailed sections mix with the more abstract. The end result for both artists is work you want to spend time looking at.

Husband and wife artists Eric Rewitzer and Annie Galvin of 3 Fish Studios in San Francisco had lots of great, affordable prints. They also teach printmaking and collage classes in their studio.

Artist Camila Magrane had several pieces in her darkened hotel room that use augmented reality technology to make the works animated and three dimensional when looked at through her Virtual Mutations app. The video above illustrates the effect.

Jeff Horton uses his architecture background to create paintings of urban structures (often larger than what's pictured above), some of which incorporate wax with oil paint for an added layer.

Other artists work not shown but worth checking out- Los Angeles based Margaret Hyde makes ethereal still life photographs of natural objects she finds and combines with water, and Kyong Ae Kim showed a variety of impressive work including her animal skulls cut from multiple layers of drafting film and acrylic paintings combined with hand cut elements.

[jordi-gali]

David Ostrowski painting at Phillips day sale. Courtesy Kenny Schachter https://news.artnet.com/opinion/14-million-dollar-flip-890306?utm_campaign=artnetnews&utm_source=031517daily&utm_medium=email&utm_term=artnet+News+Daily+Newsletter+USE