The fArt World

we got ba's in art history and no one cares.

[thefartworld]

On Kawara...more like On KAWESOME.

That was terrible. The exhibit was not. 

I went to the opening this past Thursday. Here is a picture of all the terrible horrible putrid people that came. 

We all know that the Guggy is a really beautiful building but like most beautiful things, THERES SOMETHING ANNOYING. Because of the Guggenheim's spiral ramp, the art has to be hung at an ascending angle to appear even. God forbid the public associated Mr. Wright with practicality (the museum's white exterior also goes to shit and has to be entirely refurbished every 5 or so years). 

(the scaffold's cute, no?)

It's difficult to have a traditional art exhibition at the guggenheim because of it's ill-conceived (IMO) layout . The dome usually houses the focal point of the show while accompanying 2-dimensional work along the ramp (if any) serve a supplementary role (remember Cai Guo-Qiang in 2008 and James Turrell in 2013?). 

BUT! On Kawara's exhibit consisted solely of paintings and drawings. And it was so, so, so awesome. 

His work is repetitive, uniform, routine-centric and very contemplative. Walking along the ramp looking at his 90+ date painting reminded me of a Buddhist form of meditation called circumambulation (totally self explanatory). For once, the ramp actually helped an exhibit rather than annoy the living piss out of the art handlers that have to hang shit at a weird angle. 

By ascending the rotunda, viewers began to partake in the same monotony and routine that gave Kawara a ranging bone.  

I saw a correlation between the repetition of walking in a single direction (up) and his work. 

Unlike other museum's where temporary walls create a maze of galleries and I spend half the time trying to figure out where the shit the next room is so I don't see the show out of order...the Googy rids visitors of all that frustration. You walk in a straight line. And that's it. 

His work intentionally gives you very little to think about. It is what it is. Just like walking along the Guggenheim's the ramp gives you very little to think about--you just go straight. Put the two together and you get meditation at it's FUNNEST. 

[thefartworld]

Pulse NY 2014 Exhibitors.

Pulse New York is back for another year during Freize Art week (May 8-12). I'm psyched to learn that younger galleries such as Transfer in BK will exhibit alongside the big dogs like Freight and Volume on them same floor. 

Here's the list!

532 GALLERY THOMAS JAECKEL, New York, NY Adah Rose Gallery, Kensington, MD Art Mûr, Montréal, Canada ART 3, Brooklyn, NY beta pictoris gallery / MAUS CONTEMPORARY, Birmingham, AL Black & White Gallery/Project Space, Brooklyn, NY Black Ship, New York, NY Black Square Gallery, Miami, FL C24 Gallery, New York, NY CAMILLA GRIMALDI, London, United Kingdom CATINCA TABACARU gallery, New York, NY Coagula Curatorial, Los Angeles, CA Curatorial Research Lab @ Winkleman Gallery, New York, NY Davidson Contemporary, New York, NY De Buck Gallery ,New York, NY Eric Firestone Gallery, East Hampton, NY Freight + Volume, New York, NY Front Room Gallery, Brooklyn, NY Galerie Division, Montréal, Canada Gallery Joe, Philadelphia, PA gallery nine5, New York, NY Guidi&Schoen Contemporary Art, Genoa, Italy GUSFORD | los angeles, Los Angeles, CA Ikon Arts Foundation, New York, NY Jerome Zodo Contemporary, Milan, Italy JHB Gallery, New York, NY Keeler & Co.,  New York, NY Kressling Gallery, Bratislava, Slovakia Livingstone Gallery, The Hague, Netherlands LMAK Projects, New York, NY m+e gallery, New York, NY M2A – Galerie für zeigenössische Kunst, Dresden, Germany Margaret Thatcher Projects, New York, NY MARTE Contemporary, San Salvador, El Salvador MIMI FERZT GALLERY, New York, NY MY NAME’S LOLITA ART, Madrid, Spain Schroeder Romero Editions, New York, NY Station Independent Projects, New York, NY Times Square Arts and Cuban Artists Fund, New York, NY TRANSFER, Brooklyn, NY Tyler Rollins Fine Art, New York, NY Uprise Art, New York, NY Waltman Ortega Fine Art, Miami, FL / Paris, France Waterhouse & Dodd, New York, NY / London, United Kingdom Zadok Gallery, Miami, FL Zemack Contemporary Art, Tel Aviv, Israel

-via artinfo

[thefartworld]

Look at all the crazy murky variations in Anselm Kiefer's Barren Landscape. I was lucky enough to stick my nose in this piece at the Astrup Fearnley  Museum in Oslo. Getting close to his paintings is something otherworldly. 

[thefartworld]

The March Artforum uses these word in Sarah Nicole Prickett's review of Lars Von Trier's Nymphomaniac. Probably the least shocking thing attached to the film but still noteworthy.

[thefartworld]

GIF's Big Break

As the internet generation (or whatever they’re deciding to call us 90’s kids today), we’re all familiar with GIF’s. They can elicit a wide range of reactions from a bout of laughter to a recoil so intense you spill whatever you were drinking on your lap.

If anyone has ever tried to create a Graphic Interchange Format (GIF), they’ll understand that there is certainly an art to it. I do because I just tried to make one and ended up with this …

                               I don’t even know what that is. Cat’s and Pizza. Sorry. Successful GIFS pinpoint a subtle frown, smile, eyebrow movement to convey a completely relevant and hysterical human reaction. Mine did neither. Mine did nothing.

For example: 

                              This GIF was accompanied by the caption "WHEN MY DENTIST ASKS ME IF I'VE BEEN FLOSSING" from the popular site What Should We Call ME

The Museum of the Moving Image is putting up a show entirely dedicated to GIF’s. I think this is great. Texting and emails were the original culprits for lagging human communication. Now our reactions and emotions are sufficiently construed through an additional technology: GIFS.

                                                (excitement)

This is the first time (to my knowledge) that these lovable internet accouterments are being recognized as not only an art form, but an important part of contemporary culture.   If I get out of work at a reasonable hour, I’ll be at the opening and you should too.  

  Here are the deets:

The Reaction GIF: Moving Image as Gesture

Museum of the Moving Image

Opening on Wednesday March 12, 2014, From 10:30 AM to 5:00 PM

On View March 12, 2014 - May 15, 2014

Museum of the Moving Image

Rest Of Queens

36-01 35 Avenue Astoria , NY 11106

Website

[whitneymuseum]

2014 Biennial artists Zackary Drucker and Rhys Ernst visit the apartment of drag performance icon Flawless Sabrina, who features in Drucker and Ernst’s video She Gone Rogue. Flawless Sabrina performs a tarot reading for Drucker and the two discuss the pitfalls of success. 

As part of the Biennial, Flawless Sabrina will hold tarot card readings at her apartment the weeks of March 24–April 13. Visit the project’s ticketing site to schedule an appointment.

[thefartworld]

Armory Show (Pier 94=Contemporary)

I couldn't get to the Modern pier because I was too exhausted after meandering around the Contemporary i.e. I was too busy following Sofia Coppola around (she's as radiant as I imagined her to be)...whoops

Here are some of my favorites: 

Erwin Wurm!

KUKJE GALLERY (Seoul)

Translated Vase, 2010 by Yeesookyung

I've been a fan of hers for a few years and was really happy to see one in person! Her schtick is refashioning traditional Korean culture into a relevant contemporary image. The fragments come from modern day Korean ceramicists who work with traditional imagery. The resulting conglomerate is dynamic, playful and plain 'ol awesome.

Gimhongsok Material, 2012

This sculpture actually looked as light as balloons but the matte finish gave it some weight. I don't want to art-speak all over it because that ruins things for everyone so I'll just say this: I really enjoyed walking around Gimhongsok's piece. 

YOSSI MILO GALLERY

Matthew Brandt, from the series Burnouts, 2013

This is silkscreen on velvet...who can argue with that. 

CAROLINA NITSCH New York

Alyson Shotz Recumbant Fold, 2013

These were so well-fashioned that they actually looked as if they were melting in real time. 

INGLEBY GALLERY

Richard Forster Three Verticals on consecutive but random time intercals, Saltburn-by-the-Sea, 21 Jan 2009, 11.41-11.42am

I was drawn to this piece because of three things

Magnanimous landscape feel (the kind you find in Chinese ink paintings, you know the whole "nature is vast and we are very small" type metaphor)

Graphite. I love graphite and I love seeing how contemporary artists can reimagine the medium. 

I love pieces with painfully long titles

  Winston Roeth Save Your Love For Me, 2014

This piece was about texture without being obnoxious (i.e. huge globs of paint raked with a palette knife). To see the delicate divisions in paint, you had to get really close to it. It reminded me of that scene in Sideways where Paul Giamatti tells Thomas Haden Church not to be afraid "to really get in there" in order to properly decipher a wine's flavor notes. Get in the glass that is....

TIM VAN LAERE GALLERY

Franz West Urinello, 2008

I just liked it.

Tal R Elbow  2010-2013

Again, I just liked it.

[thefartworld]

It's Armory Art Week....

It's like Basel without the house music

[thefartworld]

Jude Law Should Play Me

I recently finished Steve Martin's An Object of Beauty which is a "loosely" fictionalized book based on very real characters in the contemporary art world. Not until I finished reading Art Info's interview with critic Michael Peppiatt did Martin's superfluous description of a poly-syllabic speaking art critic make PERFECT SENSE. In the book, the protagonist, Daniel, is at a dinner during Art Basel Miami and is seated next to the aforementioned art-writer. Every time the critic opens his mouth, the rest of the dinner guests tune out, mostly because of how convoluted and boring he sounded. He reminded me exactly of Art Info’s interviewee. Below is my top three favorite quotes from the interview. Enjoy. 

And who should play you? (In a Francis Bacon Biopic)

Several people like Ewan McGregor or Jude Law because I have been several people; then me, as I am now, as the narrator in the background, looming forward to show time's ‘thievius’ progress.

  Which words or phrases do you most overuse?

“Yes,” as when I'm asked to do things like this interview.

Best quote you ever got?

"Peppiatt is the best art writer of his generation," Andrew Lambirth (The Art Newspaper)

I suggest all of you go read the interview for more face-palm moments. 

Interview with Michael Peppiatt

[thefartworld]

Could a Printer Test-Page Destroy Wade Guyton?

If anyone was lucky enough to be one of the attendees packed into Petzel like a can of sardines on the 16th, congratulations! You bore witness to the worlds 5 largest printer test pages!

                                                          Actual printer test page

                  Actual Wade Guyton art (cc Petzel Gallery)

Wade Guyton's solo show at the gallery compiled 5 gigantic ink-jet printed "paintings" on linen. They were black and white and they were boring. However, Guyton did include this incredible half U-shaped sculpture made out of metal with a walnut veneer. Apparently it was an exact replica of the Carnegie Museum's coat check counter...I would have used it as a bookshelf... but to each their own. 

                      (The shows saving grace...in my opinion) 

I talked to a few of my co-workers and friends about the show. Their reactions coupled with mine created one big collective "sigh".  I was expecting an editorial with a similar timbre. But...The Observer clearly chickened out.

Here is an excerpt from last week's review by Will Heinrich:

Mr. Guyton is connecting the information age to industrial textile manufacture by way of the dot-matrix printer and taking on the troubled relationship between “brand” and “style” from a new direction. But while black-and-white has always been the characteristic palette of both printing and drawing, and one could argue that a monochrome block shows that mode most forcefully while also bringing in 100 years of related gestures from Malevich to Reinhardt and so on, the fact is that it would be just as easy, now, to print in color. Whether by Mr. Guyton’s own earlier work or by the printer itself, black-and-white has already been transfigured, and so between his powerful gesture and his beautiful work, there seems to be no relationship of necessity.

That was the nicest way of saying "your show lacked panache". I have two theories. 

Mr. Heinrich was too scared to ding a blue-chip artist in a public forum so he chose a convoluted and overly-flowery way of telling him that his shit did't make sense. 

Mr. Guyton is fooling us all.

It appears that Guyton is not so thrilled with his involvement in the art market as of late. Guyton had mixed feelings regarding his retrospective at the Whitney last year (a well-circulated anecdote among fARTSY people). He was allegedly irate when his work went up for auction last November and even more irked that it sold well over 6 figures.

It's always frustrating for a living, working artist to see their works sold at auction. Unlike the primary market (galleries), the auction houses have no control of who buys the piece or where it ends up. Instead of finding a "good home" like most Gallerists do, once a work is sold at auction, the artist isn't privy to his artwork's new owner or home (not to mention they make zero money off of the sale)--A very paralyzing experience for a living artist (at least I think so). 

           (This puppy sold for $2.4 million at auction this past November. The consignor originally acquired it directly from Guyton meaning there was some sort of friendly relationship between the two. The consignor waits 8 years and sells it at auction. Kind of a slap in the face...)

Was Heinrich's review just? Absolutely. Could he have been a little harder on Guyton? Yes, but having seen Guyton in the flesh at the show--a large grey-bearded man--I would have avoided harsh criticism as well (he seems like he is more than capable of kicking ass).

                                (He had more of a beard when I saw him)

The cliched monochromatic paintings at Petzel are overtly simple and stale. Is this Guyton's way of saying "Here! Have some boring art! I won't care where it goes because I don't care what happens to it!" Probably not but let's play around with this for a second. 

The control Guyton's has over his career has certainly waned while his stardom and price tags have waxed.  This lack of control is a hard thing for any working artist to digest however, completely normal for those that do well at auction. Unlike the PR sponge Jeff Koons, most contemporary artists don't do well with an influx of attention. This is Guyton's first solo show at the gallery since the Nov. auction records and his show at the Whitney, and it was given poor reviews. A bad review, no matter how delicate, is an injurious prognosis for a young artist especially in the contemporary world (we all know that an artist can be hot one day and forgotten the next).  Does this show mark the beginning of Guyton's demise? Has he crippled under the pressure from museums, galleries and wealthy collectors? We'll have a better idea of how far Guyton has slipped come the contemporary auctions this May*.

But Regardless, the test-page paintings need to go.

*Even though the Petzel paintings will not go up for auction this March, bad gallery reviews hinder the success of even an artist's most popular series. 

[thefartworld]

They're Smarter Than You Think

Last weekend, a good friend and I were lucky enough to roam around the hallways of an empty Ps1. The converted NYC public school is currently home to the gargantuan Mike Kelley retrospective. If you are new to the art scene or are too lazy to leave your moms basement, you have heard of this exhibit. MoMA’s PR team has done a tremendous job in turning the show into a must-see-spectacle with statements like “the largest exhibition of the artist’s work to-date and the first comprehensive survey since 1993” and “the biggest exhibition MoMA PS1 has ever organized since its inceptual Rooms exhibition in 1976”. It’s four month run will combined with the subway and bus advertisements will ensure its massive attendance. This past Sunday was my third time seeing it.

                            (Some good advice from a Kelley piece) 

Annie (my friend) and I made a point of hanging out in the gallery where Deodorized Central Mass with Satellites was hung—a gallery which on a regular weekend has a 15 minute wait to enter. We were all alone in the gallery, the only thing standing between us and the smelly shitty looking stuffed animal balls were a couple of museum guards. Since the guards looked nicer and cleaner than Kelley’s installation, we struck up a conversation with them.

( Those angular sculptures on the wall emit a pine-sol like fragrance every 5 min and since we were very much alone in the room, the guards were kind enough to  allow me to make an ass out of myself and try and smell it cc @annietauchincloss )

Before I go on, I’ll admit that it never once crossed my mind that museum guards, the pesky assholes that tell you to step away from the art, spend more time with and around art than most museum heads, auction specialists, art history professors or any art related profession that requires one to write emails or kiss the well-rounded bottoms of their clients.

                    ( A close up of the giant glorified glade air fresheners) 

The guard, a lovely woman whose name I forget because I have trouble in that area, ended up teaching me more about Kelley’s famous installation piece than the internet and the exhibition catalogue combined. She told me that she liked working in this gallery the best because she was made to feel apart of the installation. Once I thought about this for a little while I realized she was totally right—upon entering the gallery, the viewer is swallowed/surrounded by the masses and deodorizers and once you begin to bob and weave through the stuffed conglomerates, you’ve become part of it’s orbital path.

                 (someone bobbin' and weavin' through the installation)

During her shift in the Deodorized Central Mass gallery, the lovely guard  had amassed a long list of astute observations that she was so kind enough to share with Annie and I. One reflection struck me as particularly perceptive. In the middle of our back and forth, the guard asked us why all the stuffed animals were facing away from the viewers. I had been in that room at least twice before that and had spent at least a half hour meandering through it and had not noticed that every single animal was sewn inward. After she dropped that bomb, the three of us theorized on this seemingly obvious observation for a solid 10 min.

                      (See! All are facing inward, none facing the viewer)

At the end of our time in the gallery, the guard told us that they’re not allowed to tell visitors what they think about the art. I think that that’s terrible. While most may not have art history degrees, they sure as hell spend more time with your supposed “passion” than you do. So my advice to everyone who visits a museum on a quiet day is to talk to the guards—if they’re not as sharp as this lady was then they can at least tell you about how some 4 year old tried to piss on the art.

[thefartworld]

Indie Music Snob Snydrome

Every year or so, the art world is introduced to another wunderkind artist through gallery shows and frothy editorials. Then come the stellar auction results and a lot of attention. This year it is 25 year old neo-Expressionist painter Oscar Murillo. Last year it was Tauba Auerbach, the 30 year old textile artist turned painter. Before that, it was Jacob Jacob Kassay, the 29 year old minimalist painter and so on and so forth. The only concrete trend among these very expensive artists is their young age. What’s going on here? I’ve decided to try and figure it out, which brings us to the first installment in a series of posts dealing with youth in the art world. I don’t know how many I’m going to write, probably quite a few because after I finished writing this essay, I thought of 3 more relevant topics to flush your system with. This one is what I’ve dubbed “the indie music snob syndrome”. Eñjoi.

A few weeks ago, I saw the documentary The Collector about 60’s gallerist extraordinaire Allan Stone. There was a scene about half-way through the film that I’ve been stuck on.  In an interview, the artist Wayne Thiebaud explains how Mr. Stone popularized his work at the age of 40. I had two questions after that scene: 1. How often would an established gallerist take on an unknown artist at the age of 40 and actively try to create a market for him/her in today’s world? 2. How long would Thiebaud’s career last today before being upstaged by a younger “hotter” artist? In my opinion, the answer to both questions are negative. I understand “contemporary art” as an all-encompassing genre for current artists and artwork but why so young? After talking with a junior specialist in our post-war and contemporary department, the oddities of our youth-obsessed art world began to make sense.

           (Wayne Thiebaud and Allan Stone installing his one man show)

Before our talk, I believed that auctions dictated the contemporary art market. Wrong. Collectors have the upper hand in creating demand for a particular artist. Since when have the people been in control of the art market? Before the 60’s? I don’t know but that’s besides the point. As utilitarian as that sounds, there’s an elitist twist…today’s “hot” artists come with 6 figure price tags so only rich people get to play that game

                  YOU CAN'T SIT WITH US: contemporary art edition

The art world is a bit like New York City; Yes, it’s technically huge but the reality is, it’s very, very small. Everyone knows everyone and everyone knows what everyone else has. Once a mega-rich collector hears word that her mega-rich collector friend has a Jacob Kassay in their collection, she needs to have one as well...may even two.  In these scenarios, it’s all about one-upping each other, not necessarily about personal taste. So it’s no surprise that collector’s interests have shifted towards these young artists—it’s another form of having the hot thing before anyone else does. The whole thing reminds me of indie music snobs. They spend a considerable amount of time online or at concerts trying to find the “next best thing in music” so that when the band becomes popular they get to mutter the phrase that makes all their hard investigatory work seem worth it: “I’ve been listening to them for years.” Take Lucien Smith for example. He is 23 years old and his two paintings sold at auction in 2013 (both for 6 figures) were from his 2011 Cooper Union senior thesis show. Collectors have become so obsessed with newness and instantness that they’ve started buying artwork from artists who haven’t even become artists yet—they’re still students!* That’s as bad as someone bragging about a new band before they know how to play their instruments. It’s just too soon.

(Lucien Smith's Hobbes, The Rain Man, and My Friend Barney / Under the Sycamore Tree which sold for $389,000 at Phillips this year)

Major contemporary collectors are essentially no better than over-eager hipsters with bad facial hair…both suffer from indie-music snob syndrome.

                                        Heyyy, I'd like to spend $100,000 on your infants finger painting piece. 

*Yeah ok, people in art school are artists but I was just trying to drive my point home. 

[nycartscene]

thru Mar 2: “Body & Soul: New International Ceramics”  curated by Wendy Tarlow Kaplan The Museum of Arts and Design, 2 Columbus Circle, NYC the exhibition underscores the power of the figure to convey strong emotions, and also to the accessibility of the ceramic medium. Through clay the figure becomes the catalyst for addressing the emotional impact of contemporary pressures that confront our society today. Each work, inspired by a personal incident or symbolic tale, expresses a deep emotional identity, contrasting societal, political, and personal views on themes such as anxiety, bias, mortality and memory. The exhibition highlights approximately 25 international artists who came to clay as painters, draughtsmen, or sculptors. Many are being shown for the first time in the United States

[thefartworld]

Ceramics and guts? I will be checking this out. 

[lsaaaaaac]

Charles Ray Plank Piece, 1973

[unicorn-meat-is-too-mainstream]

Zhu Jinshi suspends boat with 8,000 sheets of folded rice paper.

Bhakta’s Weblog:  facebook  |  twitter  |  pinterest  | subscribe

[thefartworld]

Did Anyone Else...

think the Indiana exhibit at the Whitney was booorrrring...

besides this bear?

[thefartworld]

Hey MoMA, Forget Something? (Ileana Sonnabend: Ambassador for the New)

I’ve just been up to my eyeballs in emails from Artforum, the New York Times, the New Yorker, Vanity Fair and more! They all want me to write for them!!! But since I have such a large following here on the fART World, my allegiance lies here, with my beloved fans and my beloved blog.

  So I’ve politely declined the offers of those other publications and will write about the MoMA’s Sonnabend exhibition opening here. The show is called Ileana Sonnabend: Ambassador for the New, and if you were thinking it’s about Ileana Sonnabend, you’re half wrong.

Sonnabend was a European gallerist who had a very special eye. She’s known for bringing American artists like Rauschenberg and Johns to Europe and European artists like George Baselitz and Christo to the states. When I think of Ileana Sonnabend, I think of the lovely Vito Acconi performance piece Seedbed that was shown in her NYC gallery in 1971. (Hint: it involves public masturbation and walking on the aforementioned) 

The reason for the exhibition is the Rauschenberg that she donated to the museum (below). The MoMA explains it as a “celebration of this extraordinary gift” which left a bad taste in my mouth.  Like the mafia, art institutions operate on the bartering system. You do for me, I’ll do for you, and the later is usually sub-par. However, I was pleasantly surprised.

  Why I liked it:

The overall layout of the show was unintimidating and the installation left plenty of breathing room between artworks. Compared to the Magritte and Gensken exhibits a few floors up, Ileana Sonnabend: Ambassador for the New was a piece of cake to navigate.

While the clear star of the show was Rauschenberg’s Combine Canyon (the best piece in the presentation), the exhibited artwork allowed us to separate the famous artist from their most famous artwork. It reminded us how versatile their oeuvre* really is. It was so refreshing to see a Koons Pink Panther rather than a shiny balloon dog or Baldessari photographs instead of a dot painting—it was awesome.

  What I didn't like

Um. Hello. The curators forgot to mention that eency-weency fact that SHE WAS MARRIED TO LEO CASTELLI. HIIIIII. That’s important!! And the reason I think that little factoid was omitted from the wall-intro was that:

1. Whoever is in control of Sonnabend’s estate demanded her marriage to Castelli be left out because they wanted her to appear independent in the curatorial choices at her gallery. That the artists she “championed” in either Europe or the States were from her connections and her eye. Essentially, they wanted Sonnabend to gain a little credit apart from her husband who is already well embedded in the history of art.

2. The MoMA left the factoid out to portray her as the innovative gallerist because she just gave the museum one of the most important Rauschenberg’s in the world. You know, I do for you, you do for me kind of deal.

*MoMA did the same thing with the Isa Gensken exhibit up now by not mentioning her marriage to Gerhard Richter.

My favorite pieces:

A.R. PENCK (RALF WINKLER) (German, born 1939) Welt des Adlers IV 1981 Acrylic on canvas 70 7/8 x 110 1/4" (180 x 280 cm)

PETER FISCHLI (Swiss, born 1952) DAVID WEISS (Swiss, 1946–2012) Animal 1986 Polyurethane, cheesecloth, paint 22 x 38 x 23" (55.9 x 96.5 x 58.4 cm)

WILLIAM WEGMAN (American, born 1943) Stomach Song 1970-1971 Video (black and white, sound) 1:20 min.

watch it here

JASPER JOHNS (American, born 1930) Device 1962 Oil on canvas with objects 40 x 30" (101.6 x 76.2 cm)

Overall, a really great and diverse exhibition with a stellar Rauschenberg that really ties the room together. I highly recommend it…but don’t forget to read between the lines.

 The exhibition opens on December 21st and closes April 21, 2014

*I’m so sorry for using the word “oeuvre” but I really couldn’t think of another word that meant “entire works”. Ehh.