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Alex Bierk, Tobey C. Anderson

On view this Friday through March 16 at Lyons Wier Gallery, NYC as part of the group show "Retuning Reality." More info here.

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Glenn Ligon at Luhring Augustine NYC,

through Jan. 19, 2013. More here.
Second only to Ed Ruscha at Gagosian
on my Chelsea walk last weekend.

Image of the Day

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Photograph by Alice Springs (a/k/a June Newton, 

wife of Helmut Newton), 

from Dépêche Mode magazine, Paris 1971

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Leonardo Drew [click to enlarge]. 

Drew's current exhibition at Sikkema Jenkins Co. 

was my favorite of the many great gallery shows 

I saw with my homegirl last weekend. More images here.

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A lake in Camargue, France, turned a surreal shade of red 

as a result of a phenomenon caused by the water's 
high salt content. 

 Close-up of the salt crystals coating the lake's vegetation.

Disturbing but beautiful. Photographs by Sam Dobson.

Via AnOther.

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Robert Adams, Kerstin Enjoying the Wind, 

East of Keota, Colorado, 1969. 

As recently reported by Carol Vogel in the NY Times,

Adams has selected 169 prints from his personal 

collection, covering the span of his career, for acquisition 

by the National Gallery of Art in Washington, D.C.

Two comments:

1. This is the kind of photo that made me pine for the West when we lived on the East Coast.
2. Every time I start thinking about paring down my 7-day subscription to the Times, I get the Friday arts section and change my mind.

Image of the Day

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Gore Vidal (Oct. 3, 1925 - July 31, 2012) in 1947.

Photograph by Jerry Cooke / Time & Life Pictures

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Rudolf Stingel, Untitled (Paula), 2012 (11 x 15 ')

Stingel's huge, photo-realist painting of gallerist Paula Cooper is based on a photograph of Cooper from the 1980s. The painting was recently exhibited at Art Basel as part of the Art Unlimited show, and I've been obsessing over it since I saw it in the Times a few weeks ago. (The painting was reportedly purchased for $3 million by François Pinault, before the fair opened.)

Critic Jerry Saltz on Paula Cooper, from a 2005 Village Voice review of a show by Stingel that included another portrait of Cooper:

Just as Stingel has tried to redefine what painting can be, Cooper is and has been a model for the kind of dealer most dealers start out wanting to be: compassionate, activist, and responsible. Cooper is one of the most respected gallerists in the history of art dealers. Curator Francesco Bonami calls her "the Greta Garbo of art dealers-detached and a true believer in the power of art."

Hers was the first gallery to open in Soho and among the first to show the work of Sol LeWitt, Carl Andre, Walter De Maria, Jennifer Bartlett, Jonathan Borofsky, Lynda Benglis, and Robert Gober. Over the years, she has allowed her gallery to be used for everything from the Student Mobilization Committee to end the war in Vietnam, to ACT UP benefits, to NARAL meetings. Now open for more than 40 years, her gallery continues to do great shows.

The most striking thing about Stingel's [2005 portrait of Cooper, based on a 1984 photo by Robert Mapplethorpe] is how candidly he renders Cooper's beauty. This painting reminded me of the huge crush I had on her 25 years ago when I worked as a truck driver and used to make deliveries to her gallery. She always gave us snacks.

Image of the Day

Francesca Woodman: Polka Dots, Providence, Rhode Island, 1976 (Gelatin silver print, 13.3 x 13.3 cm. © George and Betty Woodman, courtesy George and Betty Woodman). On view at the Guggenheim through June 13 in the first major US exhibition of her work (originally at SFMoMA). I walked through it twice last week and I wish I could see it again.

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Tim Hetherington, Untitled, Liberia, 2003

On view at Yossi Milo, NYC, as part of a posthumous exhibition of Hetherington's photography and video. (Hetherington, who documented conflicts in the Middle East and West Africa throughout his career, was killed in 2011 while shooting in Liberia.) Through May 19.

Image of the Day (or, "Art for All")

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Gilbert & George, Hell, 2011.

On view at White Cube, London as part of the show "London Pictures." The pieces in the exhibition are based on posters of newspaper headlines collected around the city and organized according to recurring words.

Clip from The World of Gilbert & George, 1981:

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Alex Prager, 7:12 p.m., Redcliff Ave., 2012

Part of Prager's new series, "Compulsion," now on view at Yancey Richardson, NYC. Though May 12. Watch a short slideshow at nymag.com.

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Eirik Johnson: Abandoned Shack H, Mushroom Camp Near Sisters, Oregon, 2011 – featured in Eirik Johnson: Camps and Cabins at G. Gibson Gallery in Seattle through May 26.

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Romaine Brooks: Self-Portrait, 1923 (Oil on canvas, 46 1/4 x 26 7/8 inches) – on view in Hide/Seek: Difference and Desire in American Portraiture, at the Tacoma Art Museum through June 10th.

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Kelli Connell: Convertible Kiss, 2002/2011 (Archival inkjet collage, 5.5 x 7 inches, edition of 15, from the collection of John Jenkins and Stephen Lyons). On view at Greg Kucera Gallery through June 2 as a part of Under the Rainbow, a four-gallerist show in support of the Tacoma Art Museum's current exhibition Hide/Seek: Difference and Desire in American Portraiture.

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Late pass: I just came across the work of a photographer I didn't know, Duane Michals. No time for a retrospective but I recommend a Google image search... really amazing work.

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Damian Stamer, Untitled, 2012
(60 x 84 in., oil and graphite on canvas)
Up through May 19 as part of the North Carolina native's
solo show, Southern Comfort, at Freight + Volume, NYC.

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Dug the color, texture, and feeling of this photo by Pari Dukovic from a recent New York magazine slideshow.

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Cover of the catalog for the groundbreaking exhibition opening at the Met a month from today, Schiaparelli and Prada: Impossible Conversations. If you missed Judith Thurman's article "Radical Chic: Clothes on the Cutting Edge" in the New Yorker a few weeks back, I highly recommend it checking it out.

Schiaparelli was thirty-seven and Prada was thirty-nine when they delivered their first collections. But experience of the real world, which was a man’s world for both of them, made them intolerant of female passivity and desperation. They don’t really care what makes a woman desirable to men. Their work asks you to consider what makes a woman desirable to herself.

Visit newyorker.com for the whole article.
Info on the book at Yale Press.

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One of my most favorite of the many classic photographs by Arthur Tress, who I first learned of from a great show at Clampart back in 2003 or so. A new show at the De Young Museum, Arthur Tress: San Francisco 1964, exhibits seventy of his early photographs. Click here for a slideshow and short review by Ted Loos at the New York Times.