“Live without reg[r]ets”
Almost seems like a good motto to live by, right? Well, here’s another one.
Have your tattoo proof-read.
Twice.
“Live without reg[r]ets”
Almost seems like a good motto to live by, right? Well, here’s another one.
Have your tattoo proof-read.
Twice.
At a time when Warhol was already world famous and the elder statesman of New York cool, Basquiat was a downtown talent rising rapidly from the graffiti scene. Together, they forged personal and professional partnership.
The book, Warhol on Basquiat, explores the artists’ personal and professional relationship through hundreds of never-before-published photographs of Basquiat by Warhol, along with excerpts from the legendary Andy Warhol Diaries, and rarely seen archival material and examples of their collaborative artworks.
Jean Michel Basquiat would have been 60 today and Andy would have been 82.
The print edition of The Coronaville Artist Coloring Book, second wave print edition, is out now!
“One of the essential joys of possessing an artist-made coloring book is that it’s important for its owner to feel 100% free to do whatever they want with it, which could include but is not limited to tying it up, serenading it, drowning it in the bathtub, turning it into face-masks or hoarding it for posterity.
Naturally, you can color in it as well, but if that’s the plan, then a more recommended course would be to acquire at least two copies, so that one can be kept in mint condition while the other is mercilessly ravaged.
You can also mail them to your friends, post them on social media, and use them as the foundation for an endless chain of digital call-and-response, but hopefully all of us will refrain from bragging, no matter how far and wide this publication gets circulated, that it’s ‘gone viral,’ marking the elimination of that particular figure of speech from our cur- rent vernacular, along with this coloring book, one of the minuscule silver linings that might come out of this pandemic.” –Dan Cameron, 2020
CORONAVILLE ARTISTS: Anonymous, Antic Ham, Allan Bealy, Anke Becker, Ricardo Bloch, Mike Cockrill, Keith Donovan, Ron English, Grace Graupe-Pillard, John Himmelfarb, Sophie Oldsman, Tanja Ostojic & Leonard Rych, Rick Prol, Martha Rich, Matthew Rose, Trey Speegle, Lori Taschler, Caterina Verde & Gloria Zein
Click here to connect to Blurb to order print on demand book. $10 is tax deductible and goes to The Brooklyn Rail to support artists.
I’ve known Maripol since I first came to New York 4 decades ago…
She worked at Fiorucci and my ex was the art director there, and we lived uptown around the corner from the store. Singer Joey Arias worked there too and that’s where I first met Maripol. We’re still friends, but that’s no surprise, really, Maripol knows everyone. Really. (Here’s a funny/odd story about her, Grace Jones and myself.)
And she’s known for her amazing Polaroids of the day and creating Madonna‘s early looks. –think armfuls of rubber bracelets and a wedding dress– among other things. She just told UK’s The Guardian about this Sade photo and much more…
“The first time Sade came to New York was in May 1983. The band played Danceteria. My friend Edwige and I went along.
I hadn’t met Sade before but I knew their music. It was great – so different, so smooth. I grew up with Roxy Music. Sade felt like a 1980s version of that. Afterwards, the plan was for them to come to a party at my loft. My friend Michelle was going out with a bandmember and Edwige knew them too. She had a huge crush on Sade. I have a shot of the two of them, another of Sade looking directly at me, and this one.
Sade was a quiet presence, but such a beauty, and so stylish: imposing, statuesque, with glowing skin, big eyes, red lipstick – a goddess.
She had her hair pulled back in a braided bun and was wearing a big skirt with this quite masculine shirt. She just stood there, watching the room. Maybe she felt like she was missing out on the action. Or maybe there was somebody of interest she was looking at.
I don’t remember what we spoke about – it was 1983, babe, that’s over 30 years ago! But I do remember her English accent, and that she was sweet and gracious. I mean, she could have said no to having her picture taken.
The earrings she has on are ones I’d given her to wear. People always thought I was a stylist – which I wasn’t. I was stylish.
If you look at the major fashion magazines at the time, they were horrible. Even the big labels such as Gucci seemed to be only making clothes for rich, old ladies. I stood out. My look was unique, original and sexy with la French touch – lots of bright red and sheer black, with big jewellery.
The painting behind Sade was of a UFO, but don’t ask me who it’s by. I had a lot of art back then, although not as much as I do now. I would ask every artist who came over to draw in this book I had.
And that’s how I ended up having a beautiful Basquiat, a very rare, early drawing featuring a baseball, a crown and letters. I was advised to frame that drawing to protect it, but I still have the book, with other entries by Lounge Lizard, John Lurie and Pater Sato, that amazing Japanese designer who died of an Aids-related illness.
We’d often have parties like this one, sometimes on the roof. Andy Warhol brought Duran Duran’s Nick Rhodes once. Now, whenever Nick comes to New York, he sends me an email – he likes having people from the 80s come to his concerts.
At the time, no one really had stylists or PR people. There were no influencers, no mobile phones, no emails: the connection with others was completely human.
I was 20 when I came to New York. Back in France I had met a Swiss photographer called Edo Bertoglio. He gave me my first Polaroid camera.
We were both in relationships, but we eloped to New York. At first, life in the city was very difficult. The language, the unbelievable winter storms, finding work … My Polaroid camera became something for me to hide behind, and maybe a tool for figuring out where I was. Mostly, it was pure voyeuristic curiosity.
I think I was looking for beauty. I was as obsessive as people are with iPhones these days. I’d take selfies. But I never really thought my pictures would become iconic. I never took them for that reason. It was more of a compulsion. And then I put them all in shoeboxes for safekeeping.
The only person who ever said no to a Polaroid was David Bowie. I was standing by the bar in Studio 54, camera in my hand. He came right up to me to get a drink, and I asked him.
‘No, no, darling,’ he said, really sweetly. I should not have asked. I should have just snapped him.”
(Polaroids, Maripol; via The Guradian)
Hockney and his longtime assistant settled in a house in the French countryside, set up a studio in the adjacent barn and he started painting in March 2019.
He began painting a long panorama representing a 360° vision of what surrounded the house. This first work was followed by several views of the house, a 17th-century traditional, half-timbered cottage.
When summer came, he embarked on a series of acrylic paintings depicting a view of the village of Beuvron-en-Auge, the apple and pear trees in the garden and trees in the morning mist, capturing the changing light and sky.
A 108-page hardback catalogue accompanies the exhibition with essays by Jean Frémon, Donatien Grau from Musée d’Orsay, Paris and from Hockney himself.
Actors go full-frontal on screen with regularity of late (thank you) but sometimes, their parts are “borrowed”.
Prosthetic penises are used for any number of reasons, not the least of which is actors don’t want millions of viewers to see ALL they’ve got –or lack.
And sometimes, their characters are supposed to be RIDICULOUSLY well-endowed (*see Dirk Diggler), most of the time just for a laugh (Channing Tatum) or, as in the former Harry Potter’s case, there are “stunts” involved…
HBO and streaming platforms like Amazon and Netflix aren’t governed by the Motion Picture Association’s ratings system, which limits the circumcision, um, circumSTANCES under which a penis can be shown.
Another reason for the trend in male nudity has to do with justifiable criticism of the ways women have been sexually objectified on TV and in film. Some filmmakers have said they’ve wanted to level the playing field by featuring more male nudity. (Again, thanks, whatever the motives…)
Hemsworth was supposed to comically endowed in Vacation. Co-director John Francis Daleytold ET,
“We had a choice between an 8-inch and a 10-inch [prosthetic], and we tried them both on him in a room above the bedroom we were shooting.
Just the three of us alone in a room sampling penises was a very strange experience for us.”
Former WWE star John Cena wore a prosthetic for the 2015 Amy Schumercomedy Trainwreck. He told Jimmy Kimmel.
“[I have a] ‘big part’ because of the costume department. I had to stuff myself in a small nylon sock, and they gave me a stunt penis to insinuate an erection.”
In Hulu‘s Future Man, The Hunger Games‘ Josh Hutcherson has to fight a nude clone of himself, and one is endowed quite differently than the other
“Some prosthetics really push the limits.”
While filming the nude scene for their 2012 , Tatum decided to prank co-star Rachel McAdams. She told Stella Magazine,
“Channing got the props department to make a prosthetic, um, member. Literally a fake penis. I didn’t know what to do—I thought,
‘Is that the real deal?’ It was very realistic. It was ridiculous, the scale of it!”
Both Adam Scott & Jason Schwartzman gave us full-on, full-frontal in The Overnight, although Scott got the short end of the stick, so to speak.
The scene is a comic sight gag about big vs tiny. Schwartzman told Buzzfeed about wearing the prosthetic,
“There was something just kind of liberating [about it] I felt quite happy to just be in it….
I guess there are all different kinds of prosthetics, but this is sort of like a Tempur-Pedic memory foam. If you wanted to, you could squeeze it, and it would kind of like slowly rise back up to its original [size].
So I call it a ‘tempur-penis.'”
Hodor (RIP) made quite a BIG impression in Game of Thrones Season 1. He walked out of the woods giving us (fake) full-frontal Hodor.
Nairn told GQ,
“It was made out of, like, latex, and it was very realistic-feeling.
But Hodor looks part giant, so it was definitely beyond human—about sixteen inches…. The pubes had to be planted into my own hair with glue, so the removal hurt.
I felt sorry for the makeup girl, too.”
Technically, this one is an outlier –the only prosthetic testicles on the list. Poulter had to show his spider-bitten ball (singular) in the 2013 comedy We’re the Millers. He told Metro.co.uk,
“I was wearing a prosthetic, so none of that is mine.
I’m not the proud owner of that pineapple-sized testicle. The prosthetic took about three hours to put on. It was a bit of a trial and I got intimate with a very talented man called Tony who saw a lot more of me than what I care to show anyone else.”
Radcliffe played a dead guy in the 2016 comedy Swiss Army Man. But the corpse’s penis has a very special talent. It could point to specific compass bearings. Daniel told Metro.co.uk,
“The way the penis moves in the film, it was based on an animal called the tapir who have penises which are prehensile and can move around.
Normally all of the animatronic stuff we had on Harry Potter, most were controlled by a guy with a little remote control. This, for some reason, was controlled by two gigantic levers that were on the side of the set that a guy was wrenching around to operate.
Much hilarity was had with the animatronic penis.”
And then, there’s the big Daddy of prosthetic wangs, Mark Wahlberg’s well-endowed porn star, Dirk Diggler, in Boogie Nights. He told Seth Meyers,
“I have to stand there, take off my clothes, and they basically start sculpting this thing around you.
It’s very uncomfortable, very awkward. And the first time that they did it, they did the exact specs, measurements, to what they thought [1970s porn star] John Holmes was like…and this thing was down past my knee.”
He says, it is the ONLY prop he’s ever kept from a movie. As well he should. It is LEGENDARY.
I’ve had a post on my website for about 5 years now titled,
It gets about 2,000 clicks a month (25,000+ a year!), far more than anything else on my site which is about my artwork. So, people ARE definitely regularly Googling,
A LOT.
(via Marie Claire)
The late Matthew Wong, River at Dusk just sold at Phillips Hong Kong for $4.9 million, setting a new record for the artist.
It was just a bit above Wong’s previous record of $4.5 million set this October. (As if $400,000 is just a “bit”…)
Wong was a burgeoning artist early in his career. He died last October by suicide.
He had just three solo shows, but Wong was establishing himself as an emerging talent to watch. His work borrows ideas from painters like Matisse & Hockney. In 2018 he told Art of Choice that he’d been influenced by Munch, van Gogh, Alex Katz and even Kanye West.
He was a big Facebook user, participating in discussions on art critic Jerry Saltz‘s page. Saltz said Wong’s debut exhibit was
“one of the most impressive solo New York debuts I’ve seen in a while.”
That show was his breakout moment at NYC’s Karma gallery in 2018.
According to ArtNews, Wong was forever curious about art and artists.
“I am a bit of an omnivore for sights, sounds and ideas and am always on the lookout for perspectives,”
Wong said that he, like many, worked by instinct,
“Sometimes I could just be making marks almost haphazardly and at a certain point I step back and realize I have a finished, satisfactory image that I have no idea how I managed to pull that one off.”
He told Studio Critical when he was just getting started in 2013.
“I’m just going with my gut at the moment. But often times, my gut also cancels itself out and I keep painting over an image with a totally different image, and work like this can go on for months before a single surface is resolved.”
He said in 2014,
“Would I be able to go through life without painting? I guess we’ll never know.”
If you or someone you know has thoughts of suicide you can contact the Trevor Project here or call 866-488-7386 24/7.
(Images, Karma, Matthew Wong; via ArtNews)
The legendary 6666’s Ranches have been in the same family for 150 years and they just hit the market for a combined $341.7 million .
The property consists of three separate divisions across multiple counties in West Texas about 95 miles east of Lubbock. The 6666’s Ranch located at Guthrie contains 142,372 acres. The Dixon Creek Ranch is located in Carson and Hutchison Counties, and contains 114,455 acres. And Frisco Creek, and another smaller one is located in Sherman County and features 9,428 acres. In total, 266,555 acres.
The broker handling the sale, Chas. S Middleton says,
“These are historic properties, very pristine, top-notch ranches,. The ranches are well improved. Such ranches rarely come onto the market.”
The 6666’s Ranches began in 1870 with Captain Samuel Burk Burnett, who became one of the most influential and prosperous cattlemen in the history of Texas.
At 19, Burnett purchased 100 head of cattle that had the 6666’s brand that became namesake of several more ranches he purchased.
The first oil well drilled in the Texas Panhandle was on the 6666’s Dixon Creek Ranch in 1921 and in 1969, a major oil field was discovered there. Ka-Ching!
The main house, with 13 bedrooms, 13 bathrooms, and two kitchens, was built in 1917 by Burk Burnett. It is made from stone quarried rock and cost $100,000 to build at the time.
Additional improvements at the main Headquarters include the pilot’s quarters, 2 bunk houses, the famous 6666’s loft barn, equipment storage, feed building, round pen, dog kennel, two laborer houses, approximately 20 employee houses, the 6666’s Supply House, a 3,600 square foot enclosed airplane hangar and a 65 foot x 6,000 foot private landing strip.
Artist Antonio Guzmán Capel shared images of the sculpture on Facebook comparing the restoration to the infamous attempted restoration of a fresco of Jesus Christ in Borja, Spain, later dubbed “Monkey Christ”.
It seems restoration projects that leave artworks looking drastically “altered” have become something of a thing in Spain lately. When the Virgin Mary painting was altered twice by a furniture restorer in Valencia this June, experts called for increased regulation in the restoration of artworks.
Fernando Carrera, a professor at the Galician School for the Conservation and Restoration of Cultural Heritage, told the Guardian,
“Can you imagine just anyone being allowed to operate on other people? Or someone being allowed to sell medicine without a pharmacist’s license? Or someone who’s not an architect being allowed to put up a building?”
(via ArtNews)
For over 30 years, Fairey’s work has explored important themes including climate change, propaganda, political corruption and injustice, to name a few.
His art not only asks viewers to question and contemplate their surroundings, but also serves as a call to action to take an active role in their society and their democracy.
To change everything, we need everyone. As the US presidential election approaches, the message of Fairey’s art becomes increasingly imperative.
These prints are affordable with most estimates between $300- 500. To bid and see the full auction go here.