33 Artists in 3 Acts (53 page)

artists defined by, 151–52, 201

and Bonami, 187–91

childhood of, 128–29

collaborations of, 126, 150, 187–91, 201–2,
232
, 233–37, 247

faux autobiography of, 187, 189, 234

and Ferrari, 201–2

and Gioni, 126, 150, 201,
232
, 233–37, 246

home of, 149–52

kinship for, 152–53

retirement of, 200–201, 235, 248, 251

spurious posthumous retrospective of, 126–29, 131, 247, 328

studio of, 233

at Venice Biennale artists’ opening, 246–51

“Cattelan is Dead” exhibition, 126–29, 131, 247

CBC, 145

“Celebration” series (Koons), 17, 78, 92, 106

celebrity:

and activism, 31

of actors, 280

of artists, 5, 16, 18–19, 102, 239, 280, 366, 370

fame and, 88, 114, 202, 242, 262, 308–9

Hollywood vs. art world, 239, 280

impersonation of, 174

and loss of identity, 74, 114, 242, 262, 291

censorship, 15

political, 13, 32, 37, 41, 50, 52–53, 78, 84, 86

“Centerfold” series (Sherman), 173, 174, 213

Centre Pompidou, 241, 314, 356

Cerberus, 258

Cézanne, Paul, 6, 364
n

Chalmers, Jessica,
294

“champagne socialists,” 369

Chang, Johnson, 51

Channel 4 television, UK, 101–2, 310

Charles I, king of England, 305, 308

Charlie
(Cattelan), 189

Chelsea, N.Y., art scene and galleries of, 15, 125–26, 129–30, 142, 149, 183, 187, 199, 225–28

Chen, Belinda, 49

Chengdu, 10

Chen Guangchen, 12

Cheung, Emma, 44

Chiang Kai-shek, 24

Chiappetta, Quentin, 282–83

Chicago, 217–19

art scene in, 3, 4

Chicago, Art Institute of, 6

Chicago, Judy, 18

China:

affluence in, 51

art as challenge to political landscape of, 9–13, 24, 43–46, 52–53, 84–86

art scene in, 43, 49, 51, 52

Communism in, 24–25, 41, 114

Cultural Revolution in, 11, 25, 51, 84

Great Wall of, 290

one child policy of, 91

repressive totalitarian control in, 13, 23, 43–46, 84–88, 111–12

Christ, the Redeemer
, 342

Christianity, 39, 58, 113, 127, 129–30, 306, 332

Christie’s, 49, 85, 180, 251, 254, 325

Cicciolina, La,
see
Staller, Ilona

circles, as motif, 334–35

Claire (G. Perry’s persona), 305

Clark, Lygia, 341

class:

artists influenced by, 71, 219–20, 376

in art vs. craft, 208

eschewed by Cattelan, 201

as subject of social commentary, 97, 208, 357, 376

“#class” series (Dalton and Powhida), 183–84

Cleaning the Drapes
(Rosler), 97

Clinton, George, 221

Clock, The
(Marclay),
278
, 279–84, 307

“Clowns” series (Sherman), 175–76, 212, 214

Cobain, Kurt, 71, 74

Coffin Containing Artist’s Ponytail
(Perry), 305, 308

Cohen, Steven, 322

Cohiba cigars, 51

collaborators, collaboration, 128

Abramovi
, 290, 291

Cattelan, 126, 150, 187–91, 201–2,
232
, 233–37, 247

Dalton and Powhida, 180, 183–85

delegation vs., 166

in execution and fabrication, 15–16, 18, 24, 30, 38–40, 57, 80, 87, 107, 137, 149, 150, 189, 260, 280, 282–83, 321–22, 336–37

in film production, 353–54, 356

as kinship, 166, 183–85

lone artists vs., xiv, 52, 80

in shared career of Elmgreen & Dragset,
see
Elmgreen & Dragset

collage, 56–57, 59, 97–98, 282, 342

collectives, cooperatives, 185

collectors, 16, 17, 73, 130, 156, 174, 212, 247, 251, 274, 322, 325, 341
n
, 348, 369, 370

artists as, 65, 79, 150, 250, 258, 261

as participant in Fraser’s
Untitled
video, 249, 275–77

as patrons, 129

Qatar royal family as, 274–75, 327–28, 353, 364
n
, 366

Cologne, art scene in, 4

Color Field, 221, 326

Colossus of Constantine, 187

Columbia University, 335

comedy, 207, 239, 257

commercialism:

Hirst and, 273–75, 321–23

Koons and, 17, 33, 46

commissioning, commissioned work, 39, 130, 291, 322

Common (rapper), 220

“Communicating and Not Communicating” (Winnicott), 348

communication, 205–6, 287, 348

Communist Manifesto, The
(Marx and Engels), 51

Communist Party, 24–25, 32, 41, 53, 84, 88, 114, 332

competition, xv

among artists, 65, 150, 182, 258

avoided by C. Dunham and Simmons, 156

envy and, 267

interview as, 108

kinship vs., 182, 228

as theme, 241

composers, 282

computers, as artists’ tool, 16, 30, 44, 166, 174–75, 180, 214, 226–27, 279, 280, 281, 306, 353, 357

con artists, xiii, 127, 159, 161

conceptual art, 62, 257, 309

gay, 5

painting vs., 51

retinal vs., 340

Condo, George, 129

condolence cards, 184

confidence, xiii, xiv, 88, 102, 159, 173

conservation, of art, 226–27, 327

contemporary art, contemporary artists:

defined, 12–13, 55, 59, 64, 208

historically juxtaposed with, 106–7, 303, 308

cooperatives, collectives, 185

copyright, 280

Corinth, maid of, 254

Cornwall, Connecticut, 135, 137, 141, 226, 239, 240, 242

Cose, Ellis, 220

Cosmic Slop
(Johnson), 221

Courbet, Gustave, 17–18, 19, 79, 107, 143

Cowboys Milking
(C. Noland), 327

cows, calves, 257, 273

Cow Wallpaper
(Warhol), 315

craft, 255–377

art vs., 80, 305, 308, 337

of being an artist, xiii, 309, 333

digital technology in, 306–7

in execution of art, xv, 51–52

of filmmaking, 353–60

craftspeople, 87, 337

defined, 308

dependence on fabricators as insult to, 322

evolution of, 306–7

in filmmaking, 358, 360

Cramer, Erin,
294

creativity:

criticism as, 12

defined, 206

delegation and, 80

ego and, 288

evolution of, xvi

innovation in, 228

originality and, 152, 191, 228, 283–84, 291

and outsiders, 248

risk in, 291–92

sexual source of, 16–17

and technical skills, 358

credibility, continuum of, 179

Creole language, 357

crime, criminality:

of artists, 127–28, 152, 160–61, 180–81, 190, 263

as theme, 40, 326

Crimp, Douglas, 240

critics, criticism, 16, 73, 166, 181, 268, 275

negative, 158–59, 260

role of, 234

Cromwell, Oliver, 308

cross-dressing, xiii–xiv, 33, 62, 66, 253, 272, 280, 305, 310

Crow
(Hirst), 259

Crown Heights, Brooklyn, 95

Cruz Azul, 331

Cruzvillegas, Abraham, 334, 336

Cuba, 51, 62

Cuisine et la Guerre, La
(Dittborn), 38

cult of personality, 202, 280

curators, 16, 51, 73, 86–87, 97, 98, 121, 156, 166, 168, 199, 221, 249, 267, 314, 317, 348, 357

artists and, 214, 234–36, 252, 253, 262, 326

of biennials, 61, 70, 126, 187–89, 191, 234–37, 245, 254

rogue, 126

role of, xiv, 10, 30, 105–6, 109, 118, 129, 151, 173, 188, 190, 212–13, 233–37, 252, 254, 271–72, 275, 328, 340, 364–65, 374–75

see also specific indiv
iduals

Dadaism, 130, 234

Daddy, Daddy
(Cattelan), 201

Dahl, Roald, 150

Dalí, Salvador, 6, 19, 79, 81, 168, 272

Dalton, Jennifer,
178
, 179–85

in Hurricane Sandy, 227–28

and Powhida, 182–85

studio of, 179–81

Damien Hirst and Sons Ltd, 368

Darger, Henry, 138

data, art based on, 179–81

Daughters of the Revolution
(V-Girls),
294

David
(Michelangelo), 121

David Zwirner Gallery, 166, 227

Davis, Robert, 221

Day 29 (Nude with Dog)
(Simmons), 196

“Da Yan River—My Wet Nurse” (Ai Qing), 24

daybeds, 217–18, 221

dealers, 15, 51, 73, 99, 119, 156, 184–85, 194, 228, 253, 262–63, 272, 276, 298, 317, 325, 327, 343, 348, 356

artists as, 49, 207

loyalty to, 174

see also specific indiv
iduals

Dealing
(L. Dunham), 141–42, 144, 194

death:

fear of, 262

obsession with, 316

as theme, 40–41, 126, 130, 131, 189, 268

de Carlo, Massimo, 119

deconstruction, 359

Deitch, Jeffrey, 272–73

de Kooning, Willem, 295–96

Delaunay, Sonia, 341

democracy, 12, 57

Deng Xiaoping, 88

Deren, Maya, 240

Derrida, Jacques, 31

“Designing China” conference, 9–11

Desk Job
(Fujiwara), 121

Devaux, Julien, 166

D Hirst Ltd, 368

diaries, 136

diaspora artists, 64

Dickson, Brenda, 173–74

didacticism, 97–98

Dinner Party
(Chicago), 18

directors, 205–8

Dirty—Jeff on Top
(Koons), 5, 271

disappearance, political:

in Chile, 40–41

in China, 43–44

dishdashas
, 78

“Dittborn,” as brand, 40

Dittborn, Eugenio, 34,
36
, 37–41

politics in art of, 37–41

studio of, 38–39, 87

Dittborn, Margarita, 39

divorce, 333

as analogy for curators and artists, 236

Documenta exhibition, 12–13

documentaries:

on Ai Weiwei, 24, 91–92

artworks imitating, 64–65, 355

on Cattelan, 126

on Kusama, 313, 316, 317

photographs vs., 72

dogs, 164, 257, 299

taxidermied, 119

Doha, Hirst retrospective in,
362
, 363–70

dolls, doll houses, 96, 134, 136, 144, 161, 193, 241, 248

see also
sex dolls

Dolphin
(Koons), 4

Donmar theater, 355

doubling, 217–19, 223

“drag kings,” 307

Dragset, Ingar, 73

see also
Elmgreen & Dragset

drawings, 144–45, 165, 180, 181

life, 332

satirical, 184

drip paintings, 221, 314

Dropping a Han Dynasty Urn
(Ai Weiwei),
8
, 11

Du Bois, W. E. B., 219

Dubuffet, Jean, 248

Duchamp, Marcel, xiii, 200, 235, 340

influence of, xvi, 6, 9, 19, 46, 127, 130, 152, 191, 305

Dunham, Carroll “Tip,” xv, 135,
140
, 141–46,
154
, 194–95, 205–7,
224
, 225–30, 242, 248

artists defined by, 145–46, 228, 255

on Hirst, 322

ill health of, 225–26, 229

Koons compared to, 144–45

and Simmons, 155–61

studios of, 141–45, 161, 229

at Venice Biennale artists’ opening, 249–53

Dunham, Grace, xvi, 134, 137, 142, 156, 158, 193–96, 229, 242

artists defined by, 195

Dunham, Lena, xv–xvi, 133–36, 141–42, 144, 156, 158, 185, 193–94,
204
, 205–8, 225, 229, 239, 241–42

artists defined by, 206–7

Dunphy, Frank, 274

“Early Black and White Interiors” series (Simmons), 136, 193

“Early Color Interiors” series (Simmons), 136

East Village, N.Y., 182, 233

“Easyfun Ethereal” series (Koons), 79

eccentricity, 168

Economist
, 363

Eden, garden of, 144

Eliasson, Olafur, 87

Elmgreen, Michael, 118, 120–22, 252

Elmgreen & Dragset, 73,
116
, 118, 125, 201, 245

childhoods of, 120–21

at Venice Biennale artists’ opening, 252

embarrassment, 207, 242

Emin, Tracy, 179

È morto Cattelan!
, 126

emotions, art driven by, 52, 57

Empire
(Warhol), 283

Encyclopedic Palace, The
(Auriti), 251

“Encyclopedic Palace, The” exhibition, 245

End of Anger, The
(Johnson), 220, 221

Engelen, Jean-Paul, 366

entertainers, entertainment, art as, xiv, 34, 53, 65, 72, 159

“Equilibrium” series (Koons), 19, 46

Ernst, Alex, 221

erotica, 107, 271–73

gay, 121–22

Escuela Nacional de Artes Plásticas, 30–31

essays, 350–51

Ethel Scull 36 Times
(Warhol), 236
n

ethics, artists and, xv, 9, 13, 31

etiquette, art-world, 262–63

Evangelista, Linda, 202

Evergreen State College, 71

Exaltation
(Koons), 272

excrement, 152

exoticism, 33, 57, 66

exploitation, 24, 31

extroverts, 157