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Is the Museum-as-Nail Salon the Greatest Cultural Idea to Emerge From Lockdown? + Other Questions I Have About the Week’s Art News

Is the Museum-as-Nail Salon the Greatest Cultural Idea to Emerge From Lockdown? + Other Questions I Have About the Week’s Art News
Written by Publishing Team

Curiosities is a column where I comment on the art news of the week, sometimes about stories that were too small or too weird to be true, and sometimes just give my thoughts on the highs and lows.

Here are some of the questions asked by the events of the past week…

1) Can we keep this protest a little longer?

The Van Gogh Museum has been turned into a nail studio and hairdresser, where people can style their nails/hair while viewing the work of Vincent Van Gogh on January 19, 2022 in Amsterdam, Netherlands.  (Photo by Sanne Derks/Getty Images)

On January 19, the Van Gogh Museum in Amsterdam turned into a nail studio and hairdresser. (Photo by Sanne Derks/Getty Images)

Much of the art news from last week was the protest organized by dozens of Dutch museums against “inconsistent” closing protocols, with art institutions closed by omicron – including the Van Gogh Museum and Mauritshuis – and defiantly reopening for a day as beauty salons, Barbershops and gyms (because exercise and grooming services were allowed to open, but cultural venues weren’t).

You must appreciate how this act of institutional civil disobedience, which takes a stand on the importance of art, has taken the form of something that sounds like a very loyal relational aesthetics project from around 2007, which is likely about “questioning the autonomy of art.”

Meanwhile, in times of normal business, a trip to some of these museums flooded with tourists has a distinctly Walmart-on-Black-Friday atmosphere. So I have to say, the idea of ​​getting your own time to sit with him Whitfield with crows or The girl with the pearl earring While you’re painting your nails or your sideburns look like a dream.

2) What will Emily’s revolution happen next?

Perrotin Gallery, as featured in Emilie in Paris, Season Two.

Perrotin Gallery, as featured in Emilie in Paris, Season Two.

If you’re looking to name the biggest art influencer of the last year, it’s almost certainly going to be fictional Emily Cooper, that is, Lily Collins’ character from the Netflix blockbuster Nothing. Emily in Paris.

Emily’s foray into Van Gogh’s immersive installation in season one was credited with bringing the idea of ​​holding hands with a date inside a large version of starry night A pop culture feel.

Well, season two has arrived during the holidays, to the delight of beanie fans everywhere. Meanwhile, the art world held its breath to see what new directions he would launch.

However, the results were less shaky.

Sure, the new Emily in Paris It caused a diplomatic dispute with Ukraine’s Minister of Culture, who called the first season “very good entertainment,” but questioned the second season’s portrayal of a Ukrainian prankster. And The New York Times Art critic Jason Farago penned against-Emily in Paris essay, wondering whether to accept the “tragic victory of Emilism” or “take one last pitiful stand for a life without a mediator.”

But that’s a small beer compared to the overwhelming Van Gogh global epidemic that started Season 1. However, the second season has at least a tangible artistic connection: Emily gal pal Camille still works in a gallery, and as before, the real location that serves as Camille’s workplace is Perrotin, which has been rented by production for this purpose.

Incidentally, the artist featured in the Big Scene gallery there (S2 E4, “Jules et Em”) is French pop artist Alain Jacquet (1939-2008). The show is 2021’s “Jeux de Jacquet”, which is Beirutin’s first major collaboration with the drug after the show started to represent it. The look instantly made Jacquet a must-have accessory among non-French-speaking American Instagram marketers and Paris-based everywhere.

The specific work looked at is that of Jacquet Disguise of the prophet Isaiah (1963). Appropriately enough, it’s part of a series in which Jacquet has distorted images of beloved artwork using kitsch.

ظهرت <em> Camouflage Prophète Isaïe (1963) by Alain Jacquet V <em> Emily in Paris </em>.” width=”1024″ height=”577″ srcset=”https://news.artnet.com/app/news-upload/2022/01/emily-in-paris-alain-jacquet-1-1024×577.jpg 1024w, https://news.artnet.com/app/news-upload/2022/01/emily-in-paris-alain-jacquet-1-300×169.jpg 300w, https://news.artnet.com/app /news-upload/2022/01/emily-in-paris-alain-jacquet-1-50×28.jpg 50w, https://news.artnet.com/app/news-upload/2022/01/emily-in- paris-alain-jacquet-1.jpg 1440w” sizes=”(max-width: 1024px) 100vw, 1024px”/></p>
<p class=Alain Jacquet Disguise of the prophet Isaiah (1963) featured in Emily in Paris.

3) What is this wild André Leon Talley quote about Warhol?

André Leon Talley.  Photo by Fraser Harrison/Getty Images for Mercedes-Benz Fashion Week.

André Leon Talley. Photo by Fraser Harrison/Getty Images for Mercedes-Benz Fashion Week.

By Vanessa Friedman and Jacob Bernstein The New York Times André Leon Talley obituary, talking about how the famous fashion editor got his start as a receptionist at Andy Warhol interview, we got this quote.

[Warhol] He was constantly trying to grab his crotch. It wasn’t a Harvey Weinstein moment. Andy was a charming person because he saw the world through the sight of a child. Everything was “gee golly wow.”

It only appears out of nowhere that the impression left is, “Andre-Léon Talley, a beloved fashion icon, grew up from humble beginnings at the Met’s Costume Institute…Also, Warhol was crotch-picking…and went on to become Vogue magazine Legend.”

It’s a stinging detail that I feel compelled to mention, but I also don’t really know what to do with it. collect the The New York Times The authors feel exactly the same….

4) Can we get Matthew Barney to do the WWE color scheme?

Orange Crash: Art & Wrestling MagazineFrom publisher Adam Abdullah and editor Hunter Braithwaite, it sounds like a joke but it is Not a joke.

Here’s what I like about it: It really aims for a pretty, honest crossover spot, blending contemporary art coverage about wrestling with coverage that takes wrestling seriously. as The art is in an unexpected combination of chocolate butter and peanuts—specifically, bean-to-bar dark Tuscan chocolate filled with high-protein MuscleBlaze peanut butter.

The recently released third version of orange squeezer His corresponding subject matter comes from several different angles: Braithwaite’s writing on artist Jeremy Diller’s film about Welsh wrestler Adrian Street; A fun spotlight for professional wrestling photographer Jorge Napolitano by Brian Jonathan Butler (with a large spread of color and historical Napolitano photos); Annie Armstrong profile of Portland painter Helen Hunter, who has had success earning commissions from the wrestling audience, making matches favorites with her highly expressive style; Dan Doray’s great interpretation of the phenomenon is Orange Cassidy, the endearing wrestler whose brand of innovative satire made him a star; And the following stinging anecdote from Matthew Barney, in an interview with photographer Charlie White, about how he traced his new surreal body art straight back to his days of battling for glory:

My wrestling coach was turning up the temperature. And there will be literally an inch of sweat, all of our sweat, gathering on the rug to the point where you can’t really hold onto each other. My memories of all of that really relate to this kind of merging all of our bodies together. On those days when the heat was higher, it was mostly about exercise, and so you would constantly change partners. Like an orgy, it was about trading body fluids and trading partners. And to be one with the rug.

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