Art Monthly - No.282 - December 2004

Art Monthly - No.282 - December 2004
Library Shelf Location AP
Publication Date Dec 2004
Abstract FEATURES Size Matters As Bruce Nauman joins the lengthening list of big-name artists to exhibit in the dauntingly cavernous turbine hall of Tate Modern the critics once again respond by asking how artists can compete when the building that houses their work threatens to steal the show. Dan Smith examines critics’ arguments against ‘the proliferation of oversized installations ever more dramatic in size and form’ and finds that they are often founded on a misuse of Guy Debord’s concept of the ‘spectacle’. On Sculpture Mark Prince believes that sculpture has overcome the threat of marginalisation. ‘Painting’s ambivalent relation to new image-making technology ®¢ both emulating it and setting itself up as its self-consciously primitive cousin ®¢ has its counterpart in recent three-dimensional art which flaunts its pre-Duchampian handmade qualities while absorbing modes of contemporary mass production as contraries against which to define itself.’ EDITORIAL You are so beautiful On the politics involved when living artists give work to national collections. ‘In the case of artists who donate their work to museums in their own lifetimes: are they invited to do so or do they put themselves forward? In the case of the latter, what happens when an offer is refused when, in effect, an artist is deemed not to be beautiful enough? How, for instance, did Tate approach this delicate matter when it launched its new ‘new initiative’ to secure donations of work by living artists?’ PROFILE London Fieldworks profiled by Jeni Walwin. ‘Over the last eight years Bruce Gilchrist and Jo Joelson, the two artists behind London Fieldworks projects, have hooked up to urban and remote landscapes in ways that reposition our relationship with the environment. They have established new channels by which the viewer can tune in to nature. By participating in each project’s final manifestation and becoming immersed in its deep interface, the viewer experiences something beyond the work itself.’ EXHIBITION REVIEWS The Friedrich Christian Flick Collection Hamburger Bahnhof, Berlin Axel Lapp Martin Kippenberger Gagosian Gallery, London Tony Wood Rosemarie Trockel Tramway, Glasgow David Hopkins Before the End (The Last Painting Show) Swiss Institute, New York Michael Corris Keith Tyson Haunch of Venison, London Marcus Verhagen Gregor Schneider East End, London Dave Beech Gary Webb Chisenhale Gallery, London Eliza Williams Weekending Globe Gallery, North Shields Paul Usherwood Love Story/ Brighid Lowe Danielle Arnaud / Jerwood Space, London Sally O’Reilly The Relaxed Audience or Why We Are So Wise Jeffrey Charles Gallery, London David Barrett John Stezaker The Approach, London John Slyce Rut Blees Luxemburg / Juan Cruz ICA / Tabernacle, London Ian Hunt Time Zones Tate Modern, London Mike Sperlinger The Carnegie International Carnegie Museum of Art, Pittsburgh Jean Wainwright BOOKS Craig Martin dallies over Chronophobia: On Time in the Art of the 1960s by Pamela M Lee and finds that as EP Thompson said ‘‘Time is now currency; it is not passed but spent.’’ He also finds himself in agreement with Michel Foucault: ‘Alongside an array of other prescient comments, in an interview from 1980 he noted how space was perceived as static and dead, whereas time was seen to be the engine of life and all its vicissitudes. Perhaps not predating the entire debate, but at least signalling the current minefield, Foucault‘s remarks demonstrate the ongoing battle between space and time.’ Winter Reading A round-up of the best books of the season. NETWORKS Beyond the visual Michael Gibbs reviews New Philosophy for New Media by Mark BN Hansen and How images think by Ron Burnett. REPORTS Maria Fusco on the state independent publishing in Britain today. SALEROOMS Colin Gleadell reports from the London Salerooms and from Frieze Artfair. ‘Looking back at the second Frieze Art Fair, the word that keeps recurring is ‘‘more’’. Compared to last year there was more of everything ®¢ more galleries, more space, more visitors, more collectors, more money and more coffee stands charging more (surely, at least, the water supply should be free). The only thing there were fewer of was UK galleries. Why? Because there were more Americans. ‘‘We felt we had to make room for them’’, said fair co-organiser and frieze magazine publisher Matthew Slotover. So move over Kate McGarry, Andrew Mummery and others, Barbara Gladstone, Andrea Rosen, and Sperone Westwater are coming. The result? Something that looked more like blue chip Art Basel than before. But is this the direction Frieze really wants to go?’
ISSN 01426702
Quantity 1
Format Magazine
Month December 2004
Issue Art Monthly - No.282 - December 2004
Publication Art Monthly

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