Exit Through The Gift Shop is one of those films that created low expectations because the written descriptions I read led to some perconceived ideas of what the was about. However, I was pleasantly surprised by the film during the actual experience. It raises many issues and can be seen as a multi-faceted film. It is the story of the creation of a new art scene player in the guise of Mr Brainwash(MBW)-the graffiti name of Thierry Guetta, who started out documenting the burgeoning graffiti scene through the art of his cousin-Space Invader. From there he befriends other graffiti artists including Stephen Fiarey (best known for being sued by the AP for his Obama Hope poster), and eventually, perhaps the most celebrated street artist Banksy himself. Banksy encourages Guetta to make a documentary film chronicling the movement, but the result is a sprawling mess without a narrative and Banksy takes over and encourages Guetta to do some of his own street art and then do a show. Guetta mortgages his house and sells his consignment shop in order to create his own Warhol-like factory to churn out pieces for his first show in a massive warehouse. the art is derivative of artists like Warhol, Harring, Fairey, and Banksy himself. He creates a massive amount of hype and sells over $1 million total for pieces from the show. Banksy and many others are somewhat chagrined by the rapid success of Mr. Brainwash.
Art has always been sort of an Emperor's Clothes enterprise for me as this film depicts it. What is th relative value of art of graffiti artists/ This happened before in the early 80s art scene as graffiti artist began selling canvases for $20,000. A lot of it seems to be based on hype and self-promotion and the sense that each individual viewer can judge the merits of a piecee of art with a "good/bad" dichotomy. It seems much harder to fake a good film or novel. But art shows are participatory and a buyer can buy a slice of the limelight buy purchasing a piece. I have witness similar real life examples where a mediocre artist with relatively little training was able to create a hype and a buzz and get ignorant dupes with too much money to purchase works of art, going as far as to get patrons to commission portraits of themselves or with their significant other. The pretensions of the art scene can often bee extremely unpalatable. Mr. Brainwash is shockingly inarticulate about the meaning and inspirations for his work-it doesn't always have to be so. I truly do admire and respect he art of Banksy-but Mr. Brainwash could be a telling metaphor of the celebrity culture and perhaps L.A. itself which is all about perception and image rather than substance.
I recently read a Continuum 33 1/3 book on Big Star's Radio City album and it briefly mentioned that Alex Chilton asked Memphism-based photographer William Eggleston to provide a photo for the album cover. It seems that he has become somewhat in demand for album covers since then.
My friend Donald Eubank interviewed him for the Paris-Kyoto show that I went to today at the Hara Museum. I largely enjoyed the photos, however, I thought some of them were slightly pedestrian, but most had interesting colors, shadows, framing, or some other feature that made it interesting to look at. The drawings were a bit abstract for my tastes-but overall a worthwhile excursion.
I realized after seeing this album cover made by British artist Julian Opie that I had seen his work before. This is the cover of Blur's Greatest Hits. I really like his pop art inspired portraits as well as his landscapes. It seems that his work is also informed by Japanese wood block prints by the likes of Hiroshige and Umetaro.
Who knew that the first Louis Vuitton boutique in Brooklyn would touch down smack in the middle of an exhibition in one of the borough’s most venerable art institutions?
But there it is, at the Brooklyn Museum, bright and gleaming and blending seamlessly with its setting: a sleek, stylish and sometimes silly survey of the work of Takashi Murakami. Mr. Murakami, who is frequently called the Japanese Andy Warhol, is an astute manipulator of visual languages, artistic mediums and business models. The boutique will sell Vuitton bags, wallets and other accessories dotted with the signature Murakami jellyfish eyes, red cherries or pink cherry blossoms for the duration of the exhibition.
WHY are the Japanese couples in Kohei Yoshiyuki’s photographs having sex outdoors? Was 1970s Tokyo so crowded, its apartments so small, that they were forced to seek privacy in public parks at night? And what about those peeping toms? Are the couples as oblivious as they seem to the gawkers trespassing on their nocturnal intimacy?
Click here to find out about it in a NY Times article.