Based on publicity stills of 1920s actresses like Louise Brooks where the artist has run the age clock forward, the photographs are most telling as candid portraits of the artist herself, particularly this one set against the backdrop of Sherman’s own backyard in her Long Island home. Her latest series, shown in its tender glory at Art Basel, is a corrective: again portraits of women of a certain age, these lived-in portrayals are not satires but celebrations, showing beautiful women whose lined faces tell of struggles and laughter, and whose postures are not brittle but calmly self-assured. In her 2008 “Society Portraits” series, Cindy Sherman took an arch view of the artificially preserved patronesses of the upper class-a milieu she knows well from her collectors-and caught some flack for her portrayal of them as pure vessels of vanity.
VERNISSAGE ART BASEL 2016 FULL
This series, the “Yosemite Suite,” will go on view in full at Annely Juda’s London space on June 28th. Interestingly, Hockney started out making art on his iPhone, embracing the clumsy limits of the drawing program as not a bug but a feature, but now uses it primarily as a sketching tool while the iPad serves as his painting canvas. For him to be the one to accept the iPad (and its digital ilk) as the successor of the plein-air palette has a certain symbolic heft, a bit like when Degas picked up the camera. Hockney is 78-a youthful 78, but still-and he stands as the paragon of a historical kind of painting, one that goes back through the Modern era to the Impressionists to Gainsborough and Corot to Rembrandt.
It’s been three years since David Hockney debuted his iPad paintings, and it’s worth savoring these marvels every time they make an appearance. Look at this 1986 piece, and all the cues are there: the fetishistic tools of authority, from the badge to the cuffs to the life-altering pencil, and the copy of Guns & Ammo, with a schlubby man in glasses relishing the power of a gun on the cover and the magazine opened to an article boasting that “this highly accurate and reliable assault rifle represents real ‘state-of-the-art’ among military hardware.” It’s Trump Nation she’s talking about here, 20 years ago.
An artist who for decades has been examining the ugly gunk on the bottom of the American Dream, Noland makes work that captures the anger, the pathos, the desperation, the violence, and above all the scary, fascistic tendencies of the country’s white underclass.
VERNISSAGE ART BASEL 2016 SERIES
On display at Art Basel, the series was debuted at the much-in-demand artist’s recent show at Thaddaeus Ropac Galerie in Paris and will be included in his upcoming show at the Garage in Moscow. Inspired by a trip to Iceberg Alley in Newfoundland, these grand charcoal drawings of sheer cliffs of ice are like the photo negatives of his darker works, and also recall the photography of artists like Sebastião Salgado and Thomas Ruff.
Now, with this latest body of work, Longo seems to be stepping into the light. Here are some works that stood out in the vernissage, with a focus on the fair's more contemporary second floor.įor the last decade or so, Robert Longo has been synonymous with his dark, brooding, chiaroscuro-heavy large-scale drawings of epic imagery-shark attacks, terrorist incidents, mushroom clouds-all at the point of culmination. Instead, it's best approached as a repository for new quirks in the accepted canon, little progressions of the art-market battleships to the left or the right. This year's edition of Art Basel is, on the whole, not a place to find something you didn't already know-go to LISTE for that.
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