Sotheby’s Tests Out Crypto Sales

Sotheby’s, the auction house formerly known as Sotheby Parke Bernet, and before that as Sotheby’s, is testing out art sales with cryptocurrency. Just to see how it goes, they’re starting off with some Banksy crap.

Bitcoin and Ethereum seem to be the Coins of the Realm at the moment, but no doubt Dogecoin and Monero will get a look-in if all works out properly.

You can read about it all here:

You Can Buy a Banksy With Bitcoin or Ethereum From Sotheby’s

The street art icon’s “Love is in the Air” will be the first physical artwork sold by an auction house with the option to pay in cryptocurrency.

 

In the meantime, have you considered buying art from Gallery News? We also take Bitcoin and Ethereum. Right now have secured a supply of Diego Rivera prints, specifically his renowned “Glorious Victory,” complete with lascivious caricatures of the Dulles brothers, anti-communist guerrillas and Ike Eisenhower drawn on a bomb. It all has something to do with Guatemala in 1954. Look at this beautiful work of art:

And now, if you send us $20 or more in crypto or PayPal cash (see right rail) we can send you one of these stunning reproductions, postpaid! Our copies measure 11″ x 6″ which makes them suitable for framing. We trimmed a little off the edges, but nothing essential.

Be sure to send us your physical mailing address, since these will not fit in our ethernet cable. You can include that when you send us your crypto or (PayPal) cash. For more information, contact our shipping clerk, P J Collins: pjcollins@gallerynews.com.

Art

This Is Every Bill Tidy Cartoon

Art

Random Art Article #1

A list of the 101 most important painters of the history of Western Painting, from 13th century to 21st century

by theartwolf.com
Although this list stems from a deep study of the painters, their contribution to Western painting, and their influence on later artists; we are aware that objectivity does not exist in Art, so we understand that most readers will not agree 100% with this list. In any case, theartwolf.com assures that this list is only intended as a tribute to painting and the painters who have made it an unforgettable Art

1. PABLO PICASSO (1881-1973) – Picasso is to Art History a giant earthquake with eternal aftermaths. With the possible exception of Michelangelo (who focused his greatest efforts in sculpture and architecture), no other artist . . .

Read the Whole Thing!!! How bad could it be?

Art

The Whitney Is a Dawg. So Is Hudson Yards.

In my life I think I’ve enjoyed exactly two exhibitions at the Whitney Museum, and both were traveling shows for Grant Wood. Otherwise the Whitney was enjoyable mainly for its Permanent Collection, full of familiar figurative paintings by the likes of George Tooker and Edward Hopper and Thomas Hart Benton. Also one or two Gerald Murphy collages, which don’t seem to be on display anymore, according to the website.

Looking through the list of Events and Exhibitions, I gather that the Whitney currently specializes in a) chaotic smudges, and b) photographs of negroes.

It should be recalled that the primary purpose of the Whitney was never to display or warehouse art, in the manner of the Metropolitan Museum or the Musée d’Orsay. No, the Whitney functioned primarily as a meeting point. Kids would come home from prep school or college for the holidays, and the Whitney Museum at Madison Avenue and 74th Street was a convenient, centrally located venue.

The Met wasn’t any good for that because it was too damn big. With the Whitney, you could just say, we’ll meet at the Calder Circus in the lobby at noon, and nobody got lost.

But that was then. For some reason the Whitney organization decided it had to move to a vast, brutalist-modern box in the Meat Market neighborhood. Because the Meat Market was now Artsy-hip Central, and the new Whitney would be hard by the High Line, the pedestrian promenade that used to be an elevated freight railroad. Perfectly understandable, but as a result the museum is no longer a meeting point. It’s a destination that’s rather difficult to get to even if you’re coming from Chelsea or the Village. (The old Whitney is now a annex of the Met.)

As a colossal mistake, the new Whitney resembles that other showy development on the West Side, the Hudson Yards. A couple of years ago we saw the opening of the world’s biggest and glitziest shopping mall (“The Shops at Hudson Yards”), 7 storeys of upscale chain stores and overpriced restaurants and gin joints. The trouble was, it was difficult to get to, mainly dependent on a new subway terminus that had just opened at 34th Street and 11th Avenue. The neighborhood was historically a dismal spread of warehouses and stables, slaughterhouses and trolley barns. Not a residential neighborhood at all. So even though the Hudson Yards developers were erecting thousands of new apartments and multi-million-dollar condos, the area wouldn’t be an established, stable residential neighborhood for another five or ten years.

And then, before the shopping mall had been open for a year, the Covid-19 lockdown began, and the public had even more reasons to stay away. Retail tenants closed and canceled leases right and left. “Eerily deserted,” said the New York Times. One doesn’t know whether to laugh or cry.

There is an upside to all this, but it’s going to be a long time coming. At the end of a era of overdevelopment and senseless expansion, the weakest members of the herd get sick and die off. Projects go bankrupt, while investors and residents refocus their attention on safe investments in tried-and-true localities. Exactly how this can benefit the Whitney is puzzle, but I wouldn’t be surprised to see the directors attempt to buy their old building back from Met, and unload their crazy Big Box on a Greater Fool. Why not The New School?

Architecture, Art

Running the Gauntlet; or, The Joys of Contagion

Hair-salon touts, eye-cream hucksters, and other species of urban vermin.

One of the subtle delights of this past year’s Covid-19 lockdown is that it shooed away the commercial panhandlers who pester you in pedestrian thoroughfares. They used to be particularly thick in the stretch of sidewalk in front of the Time Warner Center at Columbus Circle.

The worst, and most insistent, were the hair-salon racketeers. These touts, generally youngish and male, would approach you and ask you if you got your hair done professionally. You’d say yes, and then the tout would try to persuade you to try out a friend’s new salon, for which you could receive a one-time discount. But to get the discount you’d have to pony up $75—right here and now on the sidewalk.

If you seemed dubious about all this—handing over $75 to a sales rep for a strange hair salon in a distant part of Midtown—he immediately assured you that it was a top-drawer outfit.

“Look! Five stars on Yelp!”—as he flashed his smartphone at you.

After this happened the first time, I spent the rest of the day pondering what a terrible business model the whole thing was. Forget the $75 and “Five stars on Yelp!” nonsense. Most women simply do not visit new hair salons on a whim or because they’re promised cut-rate service. Generally they stick with a single stylist, whom they loyally follow from salon to salon. Or else, if the stylist suddenly packs up and takes a job in Hollywood, they find someone else in a salon they know well. They’ll do this even even it means paying $250 every month or two. Price is not really a selling point in the hair business. Certainly not a deal-closer when you’re being pressured by a complete stranger at Columbus Circle.

A smoother, older kind of sidewalk hustle may be found in the eye-cream racket. These operators are always Israeli, both male and female, and stand (or rather, stood) in doorways of cosmetic shops on Madison Avenue or the stretch of Broadway just north of Columbus Circle. When they see normal women strolling past—I mean the kind who use moisturizer and makeup—they wave sample packets of eye cream at them.

There’s always something unlikely and exotic about their cream. One popular come-on a few years ago was saying it contained flakes of real gold. And so you took the little foil sachet, and the gang in the doorway immediately implored you to step inside and try some of their other wares. Sometimes they’d even offer you a voucher for a free facial or makeover on some day next week, at some spa you never heard of.

The eye-cream hucksters of Columbus Circle have been shut down, along with their neighbors, the soap girls who would stand out on the sidewalk with their baskets of colored, scented handmade samples. I do wish to say, though: those young ladies outside the soap shop were always cheery, never nagged, and arguably provided an essential service. Sometimes you need to give someone a cheap gift, or they’re doing a Secret Santa thing at your office. What could be a lamer and more inoffensive gift for some random coworker you barely know, than a hunk of pretty, perfumed soap?

Columbus Circle today is not entirely safe for social-distancing shoppers, however. Those young people in badges and hoodies proclaiming dodgy charities, they are once again out in strength, waving their clipboards as you come into view. Legalize Sex Perversion! Children in Cages! Save the Narwhal! 

Forty years ago, the neighborhood was a half-step up from a slum. You had the decaying Huntington Hartford Museum just south of the Circle, and the dismal New York Coliseum to the west, where the Time Warner Center now stands. A faint bit of cheer was injected by a banner on an old gabled building to the north, advertising Jacki Sorensen’s Jazzercise.

The sidewalk ruffians were different, too. They didn’t promote hair salons or eye cream or Planned Parenthood. They often wore jackets and ties, and tried to chat you up about Henry Kissinger and the dank history of the British Monarchy. For a mere $300 they would let you have a full year’s subscription to the Executive Intelligence Review, the most informative periodical in the world, which was published right around the corner. That’s our founder on the cover, Lyndon LaRouche!

Fashion, Society

Ask the Family Doctor: Race and Sex in Disposable Diapers

Dr Molmar

with Ferenc Molmar, MD

Q. Dear Dr. Molmar, I have a little adoptive baby who you might say has a “touch of the tarbrush.” According to rumor his grandmother was part-Filipino, or Filipina, you might say. This creates a dilemma when it comes to shopping for disposable diapers at the supermarket. You see, they have Pampers and Huggies for white babies and negro babies and oriental babies of various sexes, but I do not see any for this new baby’s situation. Should I buy the white-baby diapers, or would the oriental-baby diapers be okay? Incidentally I have noticed that the Floogies brand do not seem to be designed for any particular race or sex and simply have a stick-figure baby on the box. Are these healthy to use, do you think?

huggies

Huggies for Orientals

A. Whoa, whoa. First of all, it’s probably not a good idea to adopt outside your own race and class, most especially if you are uncertain of the whelp’s antecedents. “According to rumor” is not a legend I would want on the family escutcheon! Furthermore, I frown on disposable diapers simply on principle, since we always found it more convenient to use cloth diapers and have the Happy Nappy deliveryman drop by every day or two.

However, what is done is done, and I’m not here to give lectures.

I was unfamiliar with the Floogies brand, but it sounds very sensible to have a one-size-fits-all disposable diaper, ready to be used by any sex or race. It probably won’t be as neat and tidy as a wrapping designed specifically for a quarter-Filipino, but we can’t let the perfect be the enemy of the good. What is most important is that you never use disposable diapers designed for the opposite sex, as that is a leading cause of homosexuality.

Medicins sans frontal-lobes

Is Separation the Solution?

Is Separation the Solution? thumbnail

Color separation was something I never really understood. I thought it was a kind of photographic technique wherein your color lithograph was divided up into printable plates, CMYK.

But now we have these other circumstances, some not entirely unrelated.

Opening paragraph:

Posted on December 11, 2020

Separation Is the Solution

Jared Taylor, American Renaissance, December 11, 2020

What appears to be a political divide is actually a racial divide.

This video is available on BitChute here.

Link below.

Separation Is the Solution

Commentary

Red Bull Gallery Gets Its Wings! (It’s outta there!)

Red Bull Arts will close its West 18th Street location, bringing an end to a six-year run of mounting cutting-edge exhibitions that included key surveys devoted to RammellzeeGretchen Bender, and more.

A representative for the art space, which is owned by the energy drink company Red Bull, said that the physical location’s last outing was Akeem Smith solo show there, which closed on November 15.

Famous for serving its iconic drink instead of wine at its openings, the gallery hosted some really bad exhibitions since its opening in 2013.

 

Uncategorized

Smoking Prevents COVID-19, says David Hockney

Famous gay painter and pastel illustrator David Hockney has some medical news for us all.

Of course we already knew that cigarette smoking prevented Alzheimer’s Disease. But this is the first time an important artist has weighed in on the COVID-19 nonsense and how coffin nails may help!

From the New York Post:

Art, Newsbrief

NYC Galleries to Close

“I’m gearing up for a conversation with my landlord,” says dealer Cristin Tierney who operates an eponymous gallery on New York’s Lower East Side.

Read the whole thing here.

(Hat tip to theartnewspaper.com.)

Art

Antisocial: Vindictive Fun!

Interesting review here of Antisocial by Andrew Marantz. Surely one of the vicious books of the season.

So now Andrew Marantz tacked to a new course, and homed in on an irresistibly rancid subject: the viral meme as the seducer and assassin of youth. In Antisocial, he illustrates this notion through two extended case studies. One of them is factual, with actual, verifiable people; the other is so cliché-ridden and evasive that I initially took it to be a fictional composite. The “real” example is an intellectually omnivorous male person who worked in Web development, made podcasts, and gradually migrated from libertarian politics to the Far Right. The other example tells about a young woman in her 20s who was supposedly exposed to racialist politics through her boyfriend, and soon tumbled headlong into the Right-wing rabbithole.

Read the whole thing.

Books, Commentary

The Secret World of Andy Warhol

The Secret World of Andy Warhol thumbnail

Well I see the new Whitney has an Andy Warhol show going on, and I really must get down there, in my fabled guise of Art Reviewer. Stay tuned.

The Atlantic recently did a nice piece on Andy, far superior to most of what one reads in that rag. (I’ll give a link farther down.) But it got me wondering: how much more IS there to know about An-dee?

I met the guy only once, during his last years. He was going around with Rupert Smith one evening around Third Avenue and 13th Street, handing out copies of Interview. Or maybe just carrying copies of Interview. Rupert was in his last years, too. This was maybe April of 1984.

After Andy died I tried phoning Rupert. A friend answered, thought I was trying to collect money he owed me. After a few conversational hiccups, it came out that Rupert was dead too.

Funny thing is, in the late 70s, early 80s, everyday people who were not in the Andy orbit thought of Warhol as a bird that had flown, a Sixties relic who might have been cool in the Edie Sedgwick era, but not anymore. Just a step up from Ed Wood as a practitioner of deliberately bad art.

Nobody saw what staying power Andy would have. Except maybe for Andy.

Here’s a sample of that Stephen Metcalf piece in The Atlantic:

After graduating in 1949, Warhol moved to New York City, and quickly became known as, in one graphic designer’s words, “the best shoe drawer in New York City.” He was hired by the I. Miller company to produce images for its weekly footwear ads in The New York Times. He did illustrations for the slickest magazines and piecework for the biggest corporate accounts, made Christmas cards for Tiffany and perfume ads for Bonwit Teller. He borrowed a technique from the Lithuanian-born American painter Ben Shahn of tracing a sketch in ink, then pressing the wet ink against a piece of absorbent blotting paper to transfer the image. It made for a sensitive line, a line with perceptible temperament, but by a process of reproduction that troubled any idea of an “original” version touched by the artist’s hand.

And here’s the whole thing:
https://www.theatlantic.com/magazine/archive/2019/01/andy-warhol-pop-art-whitney/576412/

rupert andy

Rupert and Andy on the Fire Island ferry around 1979. I met Rupert about this time. No Andy.

Art