Gagosian in Athens.

Gagosian in Athens.

Work from "Three notes from Salalah" by Cy Twombly, inaugural exhibition, Gagosian Rome

Via Art in America (http://tinyurl.com/my5p7f) Gagosian is planning on opening up a new gallery in Athens, Greece. An exhibition entitled "Leaving Paphos Ringed with Waves" by Cy Twombly will open on September 25.

Does anyone remember this happening in Rome? A space at Via Francesco Crispi 16 opened an exhibition of Cy Twombly's works, entitled "Three Notes from Salalah," on December 15, 2007. The building, a neoclassical structure made up of the ground and mezzanine levels of a former bank, built in 1921, is an imposing mix of grand vertical columns and impressive facade with bare, white cube galleries on the interior. The atmosphere seems fitting for the emperor of contemporary art.

But where's Gogo going with this? Is he not satisfied to be king of New York and London? Does he crave some classical propaganda, long the crutch of despots? After all, endless monarchs and rulers have copied classical architecture to give themselves some street cred with the peasants. "Look at us!" the buildings say, "we reach back to the Roman empire! Check the dome! Don't we look powerful!?"


Charlemagne did it at Aachen:


So what is Larry up to, conquering the ancient world city by city with new outposts of his contemporary art empire? I can't find the source, but I remember reading around the time of the Rome gallery opening an article that proposed Gogo had opened the space simply to secure the legacy of Cy Twombly, to placate the artist and make sure Twombly knew Gogo was committed. I wouldn't be terribly surprised. Twombly is an artist eminently familiar with the classical, with antiquity, and with his own place in the scope of art history. He has taken inspiration and quotes from Greek and Roman poets and the epics of wars and warriors of the time. See Gogo's description of the Athens show for a soundbite:

"The group of four canvases that comprises the Athens exhibition is inspired by a quote from the 7th century B.C. choral lyric poet Alkman."

Twombly certainly deserves to be shown in context with antiquity, and Rome would be the perfect place to do it. The atmosphere seems poetically perfect for Twombly's re-energized visions of legend. On the other hand, the Rome gallery has already played host to a few other important shows and events, including a Lawrence Weiner exhibition and a much-publicized GREED, A New Fragrance by Francesco Vezzoli. Rome's a rising star in the contemporary art world and Italian contemporary artists are long overdue to rise again from their 70s arte povera hangover.

But Athens!? And another Twombly show!?

I dunno, it seems like it might be a fetish, a power play, inaugurating classical spaces with the contemporary master of the ancient world. Maybe Gogo is a kind of performance artist, excorcising the ancient demons, fighting the aura of myth and the contemporary ennui of these places, using Twombly as a charm as Twombly digests the ghosts and puts them into paintings.

Leaving Paphos Ringed with Waves (III), 2009

So on the jumping off point of Larry Gagosian as performance artist conquering his way through antiquity with his artist-warriors: how does art conquer space? How does the inherent aura of a space with thousands of years of history get confronted by the contemporary art within the Rome/Athens galleries? What happens? In my mind Gagosian is appropriating these spaces into the greater historical narrative of his own contemporary art power. Cy Twombly is appropriating antiquity, ancient emotion, into his own paintings. The combination seems pretty striking.

What I love about art so much is that it presents this continuous narrative, an ongoing rush of ideas and aesthetics and work and life. The meta-works by Gogo and Twombly, the reliquary galleries, containers of ancient space that hold new works referencing antiquity, are perfect. They encounter the past and digest it, they encounter the contemporary art world and conquer it. Most of all, it's just badass. Gagosian as spatial architect, gesamptkunstwerk maker.

I'm looking forward to standing in one of these spaces and seeing if I can feel anything struggling in the air around me.

Wayne Thiebaud's San Francisco.

Wayne Thiebaud's San Francisco.

This is how San Francisco looks to me. Like a vertical cross section that sticks straight up into the air, a slice of a hill. The light, too. When it's sunny out, the buildings cast blue shadows on the streets around 5:30.

Walking down California Street, sometimes I felt like I was going to fall off to one side. I'd walk straight past a cross street and suddenly look to the left to see nothing but empty air stretching all the way to the ocean and the city splaying out before it in a patchwork grid of pastel buildings. There are the stucco facades of apartments painted light blue, the faux-Roman flat rowhouses with shuttered windows.

Everything thing is angled straight up and perched on the hills like a row of birds bobbing on a telephone wire. So when I'm riding in the car like a roller coaster and trying not to fly off the pavement, my eyes are still out there in the empty air, looking down, picturing the city like a Wayne Thiebaud painting: everything mushed against the flat sky, pushed up like a body against a wall, slammed by the sunlight. Everything rolls down San Francisco like the city got tilted on its side. The cars go fastest cause they've got wheels.


All paintings are by Wayne Thiebaud, variously titled: Down 18th Street, Apartment, and Highway Curve by Google Image search. Happy looking.

Daily Audio Blog 3.

Daily Audio Blog 3/Sound Diary.

Daily Audio Blog 2.

Daily Audio Blog 2.

Daily Audio Blog.

Daily Audio Blog.

A new feature!
My posting throughout the life of this blog has been carefully considered and written essays, but that really doesn't get updated often. So! I want to start this new feature, called Daily Audio Blog. (or at least until I come up with a better name for it.) Every day, or as often as I can, I'll post a 30 second audio clip of some place I've passed through during those 24 hours. Outside, inside, kitchen, party, whatever. I'll also post a photo from the place I took the sound. So it's an audio-visual portrait, hopefully one that's vague enough to dredge up some free association without a specific narrative.

The first picture can be seen above, from the porch off of my current apartment in Somerville, MA.

Without further ado, 30 seconds of today:

Street Rothkos.

Street Rothkos.
Via Hrag Vartanian: http://bit.ly/3HhbwB

These photos are accumulations of paint, either from construction or buffing (covering over) graffiti, that have taken on the delicacy and color layering of Rothko paintings. They also bring to mind a handful of other abstract expressionists and action painters, Clifford Still, Cy Twombly at times.

The colors are obviously beautiful on these, the light of the street combined with the flat colors of paint mix to something transcendent. The shapes of the paint strokes too have this kind of vernacular poetry that might not have been intentional, but comes out with a kind of energy and directness that's rare even in the work of talented artists.

Here's my own contribution, from Beijing:


I walked by that almost daily for the three weeks I was there last, and the sheer immediacy of the paint was pretty shocking. There are these six stripes on the wall, obviously covering up some lines of writing, but they're placed in such a way that they control this entire stretch of blank white wall. The drips and splatters are classic action/abstract expressionist and the red top and bottom sections remind me of Barnett Newman. Cool stuff. Compare to Vir Heroicus Sublimis, the great MoMA Newman masterpiece:

via Artnet

It also reminds me of the Japanese action painting movement Gutai. A lot of their work was based on gesture: bursting through a sheet of paper, using hands, feet, heads to move paint around on canvas.