Our August 2020 banner image is the second in the series of “found” dArt magazine layouts, this one featuring images from the Fall 2010 edition. Yibin Tian’s photo of the Statue of Liberty was part of the Thalia Vrachopoulos article titled Our New York, covering an exhibition at the Chelsea Art Museum in New York. Appeaing on page 42, it is being displayed on the website banner as ghosting through behind a page 41 image of the David Bolduc painting, Near Sintra Early Spring. Bolduc passed away from brain cancer April 8, 2010, but had “surprised us all with a final burst of joyful elegant spirit in a crowing artistic achievement,” Sheila Mudrick noted in her dArt magazine tribute, David Bolduc: A Remembrance.
Admittedly, my article header When Less Replaces Interconnection and Our New York, is a tad enigmatic. The first part was copped from Edward Rubin’s article, When Less Replaces Mess, a review of the 2010 Whitney Biennial. An interview with Peter Halley by Karlyn De Jongh yielded “interconnection,” from her Interconnection and Isolation article, and Our New York, as already stated, was courtesy Yibin Tian. Kelly Nipper’s Weather Center, 2009 was part of the 2010 Whitney Biennial, a black and white video projection, that featured dancer Taisha Paggett with costumes by Leah Piehl.
The title of this piece refers to articles published in the Winter 2001 edition of dArt. The “cosmopolitan” women depicted in the dArt site banner were part of the print layout as they appeared on page 44 of its print edition. Ghosting through from its page 43 verso is an image of Richard Klein’s 1998 sculpture, In Vitro, fabricated from used eyeglasses, steel, and solder. These make up the left hand side of a saddle stitched folio, as they say in publishing parlance. The right hand side is numbered 22, and consist of an image of Bridget Riley’s 1966 emulsion on canvas, Breathe. It was part of a show at DIA Centre for the Arts and was reviewed for dArt by Jeanne C. Wilkinson under the title Reconnaissance. The Breathe image ghosted through here onto from its page 21 verso over a photo of Damien Hirst as a pharmacist.
Four writers covering four shows contributed inadvertently to the banner image as a unity as it appears here. It’s an accident of layout design, as the articles were entirely unrelated, being essentially guests showing up at the same party by chance. The two women in question appeared in videos produced by Lifetime Partners, a marriage agency based in California. Tapes of these hopeful Russian brides were acquired by British artists David Cross and Matthew Cornford, who presented them as part of the Cosmopolitan exhibition at Nikolai Fine Art in New York, where I had a chance to speak with them.
Los Angeles contributor Clayton Campbell concluded his review of Damian Hirst’s Gagosian exhibit with these lines, “For one night this October, the centre of the art universe was at 24th Street and 11th Avenue in New York. Bravo, Mr. Hirst.” In Jeanne Wilkinson’s review of the Bridget Riley exhibition at DIA, a relevant quote might be, “They refer to nothing but themselves, and take us nowhere except into the discomforting shimmer of the eternal present.” And here we are, of course, eleven years later, shimmering in the present, discomfortable as this might be.
The Dominique Nahas piece on Richard Klein was titled Visibility Framed, with its representative image tagged as In Vitro. The naming of both are curiously descriptive in precise ways. Seeing is something that occurs within and without, or as the Latin describes it, in vivo and in vitro, both inside the living organism and its outside, something Klein had succeeded in “framing.” Nahas describes the work as being about vision and visionary, where eyeglass frames are shaped to resemble a winged apparition, the reflection of the sun passing through the plastic lenses to create a diaphanous sieve-play of light and shadow against the wall.
Every copy of the coming Spring/Summer edition of dArt International magazine will be unique. The projected limited edition of 500 will feature a foldout insert that is a work of art in its own right – not a reproduction. We welcome proposals from artists to have their work displayed as an insert. In addition, dArt‘s new Playing Card feature will showcase the work of numerous artists, each rendered to the dimensions of a playing card and tipped into a hand-cut framed page.