News In The Art World – Breaking news artists use the media as their medium An exhibition in Los Angeles features about 200 pieces of news-inspired art dating from the 1960s. Many of the images are disturbing; “Art is more than just a pretty picture,” says curator Arpad Kovacs.
An exhibit at the Getty Center in Los Angeles features about 200 pieces of news-inspired art dating back to the 1960s. above,
News In The Art World
Breaking news is everywhere, 24 hours a day. And now it’s also making its way into an art gallery, in an exhibit called Breaking News: Turning the Lens on the Media. In Los Angeles, an exhibition at the Getty Museum examines artists’ responses to the media in recent decades.
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The exhibition includes more than 200 photos and videos from 17 different artists. They are not photojournalists: these artists take the work of photojournalists and turn it into something else.
They appropriate images of terrorism, war, natural disasters. For two of the artists, the Vietnam War is an important issue; They pulled deeply disturbing images from magazines, newspapers, television screens, and combined or manipulated them to reflect their horror of war.
Is part of Martha Roesler’s House Beautiful: Bringing the War Home series. The Museum of Modern Art/Licensed by SCALA/Art Resource, New York Hide Caption
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A color magazine photo of a beautiful 1960s living room and pasted over it a photo of a devastated Vietnamese man carrying his blood-spattered child. The sobering juxtaposition brings war into the American living room.
“Often these images from Vietnam appear in exactly the same number as these interior scenes,” explains Arpad Kovacs, the show’s curator.
A reader can easily flip through the magazine and miss one or the other. But the artist intervenes. “What he does is he forces the United States to face two different realities…” says Kovacs. “He is very political, very aggressive. But it’s meant to be. You know, many of these photos originally circulated in underground magazines. These are photos that are not on the fence. They really make a claim and stand up for something.”
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Rosler was a student of John Baldessari: the 85-year-old artist is an iconic figure in the Los Angeles art world, with works in major American museums. He also manipulates photos, adding text and captions. He once made students in his concept art class react to news photos without captions that he posted on a bulletin board. In one news photo, a uniformed man kneels with his face to the ground. He can kiss the ground or smell the grass.
“You don’t know,” says Baldessari. That is exactly the point of the artist: he wants his students to reflect on what is happening in the image.
Untitled work by Donald R. Bloomberg from his series “Everyday Photographs, 1969-1970” The J. Paul Getty, Los Angeles hide caption
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However, there is a clear meaning to the newspaper photographs that Donald Bloomberg uses in his art. During the Vietnam years he had a photography exhibition at the State University of New York at Buffalo. Police occupy the campus during a student protest against the war. A flying wedge of police officers ran in pursuit of the students.
“They were trapped on campus stairs and beaten with clubs,” says Bloomberg. And for him, it was the last straw, “when I thought I was going to be a fine, decorative art photographer, taking beautiful photos for people to look at.”
He began editing news photos capturing the disaster in Vietnam. He zoomed in and then photographed page one of the
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— a photo of the massacre in the town of My Lai with the caption “Child soldier shot, escape.” Another headline reads “Grenade Cut from Prisoner’s Face,” with an X-ray of that face and the lieutenant removing the live grenade with his pocketknife. Around each story, Bloomberg displays a thick, dark black frame: the black is in memoriam, like the black ribbon worn after the death of a relative.
“I like to be as political as possible,” says Bloomberg. “One of the ways I can be political is through my photography.”
We are bombarded with photos every day, more images than we can handle. For Donald Bloomberg and other photographers in this exhibition, the magic of still photography is that it stops time. It gives viewers a chance to really look and think about what’s going on in our world.
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“I think good art is always about something difficult. Art is more than just a pretty picture,” says Kovacs. “Good art is about challenging the status quo and making a statement.”
Through their images, these artists bear witness to future generations, those who were not present when the news broke. Artists are the door to our future. They are disruptive and disruptive: they constantly challenge us to rethink the world around us and push us beyond our limits.
As an artist I am humbled by this process and how its impact can help create new perspectives. I feel even more humbled and inspired by the community around me and how we are collectively furthering this mission together.
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The art world, the industry, the market, the movement, whatever you want to call it, is a complex community. We are all working hard to shape what the next 10, 20, 30, 40 years will look like for those of the next generation who dare to be artists, curators, collectors, gallerists, specialists, museum directors, visionaries.
This issue offers a look into the future through visionaries in our communities who continue to look and think ahead. I’m honored to be a part of it and hope it sparks conversation and collaboration by rethinking outdated narratives.
Creator of mesmerizing videos, cyber-rococo sculptures, and irresistible paintings (with the help of fire), Korakrit Arunanondchai has enjoyed success since graduating from Columbia University’s master’s program in 2012, but has recently been in special demand, with individual exhibitions last year. at Secession Vienna, Spazio Maiocchi in Milan and K11 in Hong Kong, as well as stars at the 2018 Venice Biennale and Whitney Biennale, where he was among artists asked to withdraw their work in protest of Warren B.Kanders, the fender manufacturer who subsequently resigned from the museum’s board. But it is as a serial collaborator and organizer that Arunanondchai stands apart from his fellow artists. In 2018, he founded a performance and video biennale in Bangkok, Thailand, where he was born and where he spends his time when he is not working in New York or exhibiting around the world.
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Being on top of the world allows for no shortage of compelling sights, so it says something to both of them that Beyonce and Jay-Z lay their eyes on art so often. It’s in Beyoncé’s blood, as her mother, Tina Knowles Lawson, has become a major collector, and her sister, Solange, has worked staging shows and musical and multimedia installations in various museums. And Jay-Z is much more than just an aficionado, dating back to the days when he danced with Marina Abramovic at the Pace Gallery in the video for “Picasso Baby” in 2013. As collectors, the pair focus on African-American artists, both established and emerging, and they buy a lot. (“By a lot, I mean a lot, a lot, a lot,” said a dealer familiar with his habits.) They could also be called champions of the Old Masters, like their music video for the song “Apeshit,” at the Louvre, helped the Parisian institution break attendance records in 2018.
When Gwyneth Paltrow needs art, she doesn’t go to art fairs. She calls Maria Brito, the self-described “luxury lifestyle consultant” to the stars, or any prospective client with a quarter million available. Since she launched her business, Lifestyleing, in 2009, Brito has become the buyer behind the reinvention of the famed art collector. She asks hip-hop mogul Sean “Diddy” Combs, a longtime client of Brito’s. Kerry James Marshall’s purchase of him for $21 million at Sotheby’s in 2018 preceded a spate of top-line buying by Jay-Z and Kanye.
Over the past decade, Adrian Cheng’s K11 Art Foundation has forayed into the international art world, winning honors at Frieze London and sponsoring the 2014 China Symposium at the Armory Show. At his K11 Art Malls, which Cheng, a scion of one of Hong Kong’s wealthiest families, calls a “new model of a museum,” retail stores on the main floors provide a ready audience for the art on display in the basement. . As of 2018, the foundation has 29 projects in the works with more in the background. “I believe that the new contemporary Chinese art is reinventing Chinese cultural identity and building a new Chinese culture,” Cheng said.
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Under the label that bears his first name, New York-based Telfar Clemens, he has been pushing the boundaries of the fashion industry for years, operating more as a post-medium contemporary artist than a designer. Best known for his relaxed, wearable, gender-neutral clothing (queer creatives have eschewed binary clothing since the company’s inception in 2005), he designed
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