Aiden Lassell Ripley, Woodcock Shooting

Antiques and the Arts announces a request for submissions of privately-owned works by the American sporting artist Aiden Lassell Ripley (1896-1969) for a major new book to be published next year.

Stephen B. O’Brien Jr Fine Arts, LLC is planning to publish the most comprehensive book to date on sporting artist Aiden Lassell Ripley (American, 1896–1969) and is seeking submissions. The book, which will be released in conjunction with the Aiden Lassell Ripley exhibition scheduled at the Cape Cod Museum of Art, Dennis, Mass., in August 2008, will showcase the painter’s large body of work in a hardbound volume comprising more than 160 pages and with more than 125 color illustrations.

Ripley is perhaps best known for his skill at capturing outdoor sporting scenes. He spent much of his career traveling to plantations to paint commissioned shooting scenes. Vanderbilt, Mellon, Marshall Field and Carnegie are among the prestigious names of families who commissioned Ripley’s work.

In this new survey of Ripley’s oeuvre, the authors will include watercolors, oils, drawings, magazine covers, portraits, commissions and public murals. Subject matter will cover not just the sporting paintings, but the artist’s wide range of talents — from early impressionistic landscapes of Europe and New England to later realist works depicting the outdoor life in places from the Deep South to Cape Cod.

Read the whole thing.

Aiden Lassell Ripley, Early Woodcock, etching

Jean-Luc Cornec, Telefonschafe [Telephone Sheep],
Museum für Kommunikation, Frankfurt

more photos

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Hat tip to Karen Myers.

Marco Evaristti, edgy Chilean artist, at his latest exhibit in Santiago has served up meatballs made from his own fat.

Foxnews.com:

“Ladies and gentleman, bon appetit and may god bless,” said Marco Evaristti, a glass in his hand, to his dining companions seated last Thursday night around a table in Santiago’s Animal Gallery.

On the plates in front of them was a serving of agnolotti pasta and in the middle a meatball made with oil Evaristti removed from his body in a liposuction procedure last year.

“The question of whether or not to eat human flesh is more important than the result,” he said, explaining the point of his creation.

“You are not a cannibal if you eat art,” he added.

Evaristti produced 48 meatballs with his own fat, some of which would be canned and sold for $US4000 dollars for 10.

A veteran at shock-art, in an earlier work Evaristti invited people to kill fish by pressing the button on a blender the fish were held in.

In April 2004 he dyed an enormous iceberg in Greenland with red paint.

Santiago Times:

Six years ago, artist Marco Evaristti scandalized the Chilean art world when he displayed live fish in working blenders. The opening of his new exhibit at the Animal Gallery in Vitacura is likely to cause just as much sensation, hype and criticism when visitors are invited to eat meatballs made with Evaristti’s own fat.

The Chilean-Danish artist, who underwent liposuction for the work, describes it as a criticism of the plastic surgery market. The meatballs are canned and available for purchase; two cans have already been sold to collectors for US$23,200 each. Evaristti claims that the meatballs are not only delicious, but contain less fat than supermarket meatballs.

President Bachelet and poet Nicanor Parra were invited to enjoy the dish at the opening. Neither has given a response so far. The artist assured that he, if no one else, would enjoy the meal.

Another controversial piece consists of six fake faeces covered in gold taken from the teeth of Jewish holocaust victims…

Exhibit details:
Galería Animal
Alonso de Cordova 3105
Vitacura
M-F 10:00-8:00
Saturday 10:30-2:00
Until January 27th.

One couldn’t make this stuff up.

William Sidney Mount (1807-1868), Eel Spearing at Setauket, 1845
Oil on canvas; 28 1/2 x 36 in. (72.4 x 91.4 cm)
New York State Historical Association, Cooperstown

John Wilmerding, in the Wall Street Journal, rhapsodizes over a pleasant enough America genre painting, dragging in the Ancient Greeks, and homing in unerringly on the real subtext of the painting: the sublimely important themes of race and inequality.

Following a period of renovation and curatorial research, “Eel Spearing at Setauket” (1845) by the American genre painter William Sidney Mount (1807-1868) has gone back on view at the Fenimore Art Museum in Cooperstown, N.Y. The star of the museum’s collection, the work is also generally acknowledged to be one of the classics in the history of American art. Why? Because it is both a beautiful and a significant painting. First is its formal beauty, the serene clarity of its composition, organized around its multiple pairings and reflections…

The structure is classical, consisting mainly of stable horizontals and verticals, along with the dominant triangle formed by paddle, boat and fishing spear, reminiscent of a Greek revival pediment dominant in American architecture at the time. The boat is centered in the nearground, parallel both to the picture plane and to the shoreline behind. In its solid volume and monumental stance the standing figure recalls the spirit of Greco-Roman statuary, such as that of the spearbearer. (Mount could have seen casts of ancient sculpture in his years of study in New York.) But the stillness, harmony and sense of equipoise are also an expression of nature’s hold on the American imagination in the mid-19th century, the country’s self-confident spirit, and Mount’s personal celebration of memory and meditation…

“Eel Spearing” appears to be apolitical, though its thoughtful mood and stable structure suit the sense of racial harmony. Mount achieves this by telling his story with characters marginalized in American society at the time — the child, the woman, the black. (Imagine how much more provocative his work would have been had the dominant figure been a black male.)

Wilmerding, astonishingly, overlooks the degree to which small dogs (not to mention: eels!) were not only marginalized in the wicked America of James K. Polk, but remain marginalized today.

Power to the pointy-eared terriers and the slimey anguilliformes!

The insensitive, of course, would say the painting merely represents a pleasant and nostalgic bucolic sporting idyll.

Catherine Howard, 5th wife of Henry VIII (c.1520 – executed 13 February 1542)

Second annual contest for humorous modification (via Photoshop) of famous art works into contemporary ads.

Reuters reports:

Two lost paintings by Italian Renaissance master Fra Angelico have turned up in a modest house in central England in a discovery hailed as one of the most exciting art finds for a generation.

The works — two panels each painted with the standing figure of a Dominican saint in tempera on a gold background — are expected to fetch more than $1.9 million at auction.

They were discovered behind a bedroom door in a terraced house in Oxford, central England, when art auctioneer Guy Schwinge was called in to carry out a valuation after the owner of the house, British librarian Jean Preston, died in July.

Read the whole thing.

Telegraph

They were purchased in California in the 1960s for $380. 570News

Pablo Picasso, Le Rêve (The Dream), 1932
(hole supplied by Photoshop)

Steve Wynn has a special relationship with Picasso’s famous cubist period painting Le Rêve. He purchased it at Christie’s, New York, November 10th, 1997 for $48,402,500.

Reputedly the painting served as the original inspiration for his Wynn Las Vegas resort.

Wynn, however, decided to part with the painting and had successfully negotiated a deal to sell it to Steven A. Cohen for $139 million.

The Las Vegas Review Journal reports that, in connection with the impending sale, Wynn was in the process of exhibiting the famous painting to a group of luminaries including Barbara Walters and screenwriters Nora Ephron and Nicholas Pileggi, when, gesturing, he punctured the canvas with his elbow, leaving a hole in the female figure’s left forearm. Wynn suffers from some vision problems.

The sale is not expected to proceed. The painting, of course, will be repaired.

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UPDATE 10/21

Daniel Engber explains how the painting will be repaired:

It will be slow and tedious work. The torn ends of the canvas can probably be lined up, and conservators can identify matching fibers on either side of the rip by inspecting them under a microscope. In general, you can expect the wefts in the fabric—that is, the crosswise yarns of the weave—to split at the site of the impact. The lengthwise warps tend to get stretched out, but they may not break.

The rip itself can be mended in a few different ways. First, the conservator can line up the torn ends and affix them to a new piece of fabric that lines the back of the painting. She might also try to attach the torn ends to each other using a method called Rissverklebung, in which individual fibers are rewoven back into place.

To reweave the warps and wefts, you have to figure out the proper placement of each individual fiber. Bits of paint that are stuck to the fibers must be glued in place or removed until the reweaving is complete. (Conservators map out the location of each paint flake they remove so it can be replaced in precisely the right spot.) Because an accident will stretch out some fibers and fray others, you sometimes have to tie off and shorten some threads while attaching new material to lengthen others. Threads attached to the back of the canvas will reinforce the seam.

Closing the tear is only the first part of the process. An accident like Wynn’s can damage the painting in other places by stretching the fabric and distorting the image. To correct for these planar distortions, the conservators try to change the lengths of individual fibers or small patches of the canvas. Applied humidity can make a fiber expand across its diameter and shrink across its length—and tighten up distended parts of the weave.

Bits of paint that have fallen off the painting must also be replaced. Wynn might have surveyed the scene of the accident and saved any stray bits of paint for the conservators in a petri dish. (Chance are he didn’t strip much off the canvas—Ephron says he was wearing a golf shirt, which suggests a bare-elbow blow. An elbow covered with rough fabric would probably have done more damage.) Conservators have to touch up spots of missing paint with fresh material, color-matched to the surrounding area.

One more thing: Conservators always try to make their repairs reversible. That way, you won’t cause any permanent damage to the work if you screw up, and someone can always try to improve on your work in the future.

Reuters reports that a British Art Gallery is eliminating some nudes from a surrealist exhibition in order to avoid offending Muslims.

For years now, the liberal elites have been explaining that it was essential that the grossest obscenities be not only exhibited but governmentally subsidized, or the freedom of artistic expression would be fatally compromised. The crucifix, regardless of any possible offense to Christians, immersed in urine; the Virgin Mary depicted in elephant dung, constituted artistic statements which had to be accorded public space and defended.

It seems perfectly clear at this point that believing Christians, and people serious about aesthetic values, just needed to threaten to slap some of these phoney bastards around, and then it would have been: Good bye, Andres Serrano! Adieu, Chris Ofili!

A London gallery has decided not to show some works of art because it fears they would upset Muslims, a curator said on Friday, a week after a German opera house canned a Mozart production for the same reason.

The director of the Whitechapel Art Gallery decided to remove works by surrealist artist Hans Bellmer from an exhibition the day before it was due to open, one of the museum’s curators, Agnes de la Beaumelle, told Reuters.

“The motive was simply to not shock the population of the Whitechapel neighbourhood, which is partly Muslim,” she said.

The Whitechapel area in east London is home to many ethnic minorities including a large Bangladeshi community.

The gallery issued a statement saying that some works were not included in the exhibition because of space constraints but declined to comment specifically on what Beaumelle said….

Bellmer’s work includes dolls of naked young girls.

The Scream. 1893. Oil, tempera and pastel on cardboard. Nasjonalgalleriet.

Reuters reports that Edvard Munch‘s best known painting, The Scream, stolen by armed robbers in 2004 has been recovered.

James Lileks has some sardonic reflections on the contemporary art scene in the Age of Islamic Terror. Read the whole thing.

Sign of the times: Type “naked woman cuddling dead pig” into Google, and your first result is not one of those horrid pervy sites whose pictures make you want to bleach your eyeballs.

No, you get a review of a British performance artist. For four hours she hugged a porker while spectators filed past and thought: “There’s something you don’t see every day, a fact that might be conclusive evidence of a benevolent God.”

Naturally, she got a grant for the project; public pounds paid for the dead pig, which she stabbed with a knife in order to bond with the corpse. Bring the kids! And the next time you’re in the grocery store holding some bacon, consider taking off your clothes and selling tickets. You might make enough money to make bail…

It’s hard to convince Britain’s radicalized immigrants to assimilate if it means they must pay for some naked lady getting jiggy with piggy. These are the values of the West? We must pay for this, and you call it freedom?

Good question. What is Western culture all about these days, anyway? Little but narcissism, lassitude, sneers and muted despair, it seems. No, correct that; it’s European/U.S. elite culture that seems unmoored. Standard lowbrow American culture is quite clear about what it likes: snakes on planes, loud cars going around in circles with the occasional airborne detour into the stands, high-quality TV shows, mediocre pop music, naked people without the whole arty pig thing.

It’s generally confident and not particularly self-reflective, which leaves the “elite” stratum of the arts worlds to face the true hard issues of our times. Like pig-hugging and the threat to democracy posed by Joe McCarthy.

You too can produce art like Jackson Pollock.

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