Work by Glenn Ligon and Ed Ruscha, both of whom are important to the Walker’s collection, is on view (at left is a Ligon piece from the Walker – not the White House!), along with pieces Mark Rothko, Jasper Johns, and Richard Diebenkorn; the HP story has a pretty extensive slide show of some of the selections, but the Washington Post’s has even more (along with a review of sorts by critic Black Gopnik).

The material Barbara Levine refers to is a trove of some 1,200 recently discovered artworks, diaries, letters, and artifacts attributed to Kahlo, which she explores in the newly published Finding Frida Kahlo. Although officials at Princeton Architectural Press say the book states clearly that authentication of the works is still an issue, according to the Times, it is not a central part of the book (let alone its thesis).

The story about the discovery has its own fairly-tale-like quality, involving an art and antiques dealer, a reclusive Mexico City lawyer, and a wood carver in the mountain town of San Miguel de Allende. The carver is said to have made frames for Kahlo, who in turn is said to have entrusted to him several trunks and boxes of her possessions. Now the circle of characters has expanded to include a grand-daughter and other relatives of Diego Rivera; a host of Kahlo scholars and art experts (self-appointed and otherwise), including artists who worked with her and Rivera; officials from Kahlo’s trust; and handwriting and chemical-analysis experts. And, naturally, more lawyers!

There’s also a criminal complaint filed in Mexico and attempts to halt the sale of the book in the U.S., not to mention a whole lot at stake, financially and otherwise. (The Walker’s presentation of Kahlo’s 2007-2008 touring retrospective was among the highest-attended exhibitions here). So stay tuned. And since everyone’s an expert, check out the Times‘ “Frida Kahlos or Frauds? slide show and judge for yourself.

In anticipation of the sold out Brian Eno and Jon Hassell conversation on Sept 22, here is a gem for your pleasure.  Eno performs here with legendary Roxy Music in the early 70’s, freaking out on tambourine and, er, keyboard?  Here he is rocking his crucially dangerous “vampire peacock” look.  Check out that skullet!Click here to view the embedded video.

Also, here’s one for your desktop:

http://consequenceofsound.net/wp-content/uploads/2008/09/roxy_band0.jpg

Oh no, what have I started?  I had better stop now.  What are your influential images?  Post them in reply.

Marlene Dumas, Die Babe (from http://www.saatchi-gallery.co.uk)

A friend just send me this post from artfagcity, on images of babies in contemporary art – something we’re both interested in, being moms of toddlers ourselves. (I’d say we’re obsessed, but being moms of toddlers leaves scant time for obsessing about anything except the toddlers.) AFC’s Paddy Johnson also includes a link to this essay on motherhood and contemporary artists, from The Brooklyn Rail. While reading it, I recalled watching the uptick in strollers on the streets of Williamsburg (Brooklyn) a few years back – but at the time I wasn’t considering that many of those pushing the strollers might be working artists … Then again, isn’t Williamsburg now too expensive for working artists, with or without offspring? Circling back to artfagcity, an artistic comment on both topics.

PS – Margaret, a working artist and mom-of-toddlers and a regular here on the Walker blogs, has a number of thoughtful posts on art and parenthood.

The outsized objects, which date back to the late 70s, range from a baseball bat in Chicago to binoculars in Venice, California, to a broom and dustpan in Denver; Spoonbridge and Cherry (1985-88), a highlight of the Minneapolis Sculpture Garden, is special in that it was the duo’s first fountain sculpture. Van Bruggen, who succumbed to breast cancer at her home in Los Angeles over the weekend, is being memorialized by dozens of obituaries online, including Time and the L.A. Times, which has a fine slideshow as well, featuring the work that has become a Minneapolis landmark.

George Brecht gestorben
È morto George Brecht, genio di Fluxus
Fluxus Conceptual Artist George Brecht Dies at Age 82
L’artiste américain George Brecht, un des membres du groupe Fluxus, est mort à Cologne (Allemagne) …

… the breadth of publications reporting on the demise of this artist is an indication of how influential – and appreciated – his art is. Brecht was a key figure in Fluxus, a 60s movement whose art has been a focus of the Walker in its acquisitions, and his work was featured in the museum’s 1993 Fluxus survey. It will also play a prominent role in the upcoming Walker exhibition, The Quick and the Dead, opening in April – that is, to the extent that “prominent” means anything, given that Brecht sought to create “an art verging on the non-existent, dissolving into other dimensions.”

Peter Eleey, The Quick and the Dead’s curator, has selected several of the artist’s “event scores” for placement throughout the exhibition, where they will act in concert as a “larger score.” These are simple instructions for performances or “events” that anyone can enact – or in some cases, they simply happen. There’s Sink, for example, which is “on (or near) a white sink,” and Winter Event, which is simply “snow.” And every Thursday is the performance of Brecht’s Thursday.

While death means the end of Brecht’s career (though you never know, given the morbid preoccupations of many Conceptualists), that of another artist featured at the Walker has been coming into a full flowering. Mark Bradford, a self-described “beauty operator” whose work was included in Brave New Worlds at the Walker in 2007-08, will return to speak here in April (actual date to be confirmed – check back for details).

In the meantime, his Ark – built from the shell of a destroyed house and assorted flotsam from Hurricane Katrina – has become perhaps the emblematic piece at the sprawling Prospect.1 New Orleans biennial. (The image here comes from the exhibition’s homepage.) In his review, the New Yorker’s Peter Schjeldahl declared it perhaps the single artwork most liked by the locals. Prospect.1 is on view through January 18 should you have plans to be in New Orleans (warmth-seeking Minnesotans, take note!).

(Credits for Brecht’s Void Stone : Arp Museum Bahn hof Rolandseck. Photo: Warburg. Via Artdaily.com.)

Beuys goes "Bananas"

Or the Idol counterpart in his home country, Deutschland sucht den Superstar? (Love that title!) The shaman/sham/most brilliant artist of all time (to paraphrase an Art News profile from 1980), did take risks with his “aktions,” most famously in cohabitating with a coyote in a gallery (see documentation in Walker exhibition) – but I just learned that he also made a go of it as a pop singer. Artforum.com (via YouTube) has a video of Beuys making himself vulnerable before mainstream TV viewers, performing a protest song called “Sonne Statt Reagan” in 1982 on the German show Bananas, which also hosted acts like Depeche Mode. Artforum’s video section has a lot of other good stuff, including David Byrne talking with Jeff Koons – in 1975, Matthew Barney’s 2003 Regis Dialogue at the Walker, and an interview with Mary Heilmann in which the artist talks about “keeping the bourgeoisie happy,” among other things.

The British newspaper opines that year’s quartet is “the most obscure shortlist in the history of the prize,”established in 1984 by the Tate Britain. If that’s so, perhaps rather than merely affirming talent, the museum is trying to gain credibility as one who makes it – not unlike one notable British innovation that spawned a phenomenally successful American franchise.

The four artists are Goshka Macuga, Cathy Wilkes, Mark Leckey, and Runa Islam (one of whose works’ title was recycled as the title for this post), and the Guardian includes brief bios as part of its extensive coverage of the prize, which is taken very seriously in the UK, with bookies getting in on the action (apparently, the lone male of the group is currently favored).

Looking back at a list of previous winners and nominees, it does seem that many Turner artists were better known when they won the Prize (and many have work that’s in the Walker’s collection or has been seen in its galleries: Gilbert and George, Derek Jarman (subject of a special tribute during our Expanding the Frame cinema series in January/February – keep an eye on our Film/Video page for details), Yinka Shonibare, Tony Cragg, Rachel Whiteread, Christ Ofili, etc.)

However, it’s also worth noting that this year’s shortlist artists are not so obscure as to be confined by the boundaries of the UK. Islam, Leckey, Wilkes, and Macuga have each had shows Stateside, if that means anything in a now-thoroughly-globalized art world.

The 2008 Turner winner will be announced December 1, and it’s tempting to wonder if viewer input from the Tate exhibition has any bearing on this decision. In any case, we should probably write a whole other blog post on on the American counterpart to the Turner Prize and speculate on why it doesn’t garner nearly the attention – its 2008 winner was announced last week.

You may have seen work by graphic designer Christoph Niemann in Wired magazine, the New York Times, or the New Yorker (he’s done a number of covers for that last publication). Like most illustrators, he’s developed a range of styles, one of which involves rendering images in pixel form.

So in designing a bathroom for their home, Niemann and his wife decided it’d be fun to translate a famous piece of art into pixel form, then render that image using colored ceramic tiles. The hard part, as you’ll see from his post on the process, was deciding which artwork to use (after all, it’s not like they could just take down this “art” if they got tired of it).

Turns out they considered works by a host of artists – Richter, Indiana, Hockney, Rothko, and others – who’ve shown at the Walker, and/or who have works in our permanent collection. The winning work for their shower tiles was this Pop classic from the collection, on view in The Shape of Time through November 16.

For the tub, they translated a more esoteric work, Corner of Fat, by another Walker favorite, Joseph Beuys (his works are also on view in the Friedman Gallery through next summer). Niemann thought it was a “terrifyingly perfect” idea to do a bathroom-tile version of this work, which originally involved several pounds of butter; his wife’s reaction, he reports, was the quote used in this post’s headline. Luckily, she came around and agreed. Bathroom tiles are one of those crucial matrimonial decisions.