Ian Bunn | Political & Popular Culture Arts

William Eggleston the 73 year old American photographer who is credited with increasing recognition for color photography as a legitimate artistic medium to display in art galleries has been featured by Julia Halperin in a Blouin Artinfo article titled ‘Judge Rules William Eggleston Can Clone His Own Work, Rebuffing Angry Collector’. Halperin states “Photographers across the country can breathe a sigh of relief. The U.S. District Court in the Southern District of New York dismissed collector Jonathan Sobel’s lawsuit against photographer William Eggleston. The case, art law experts say, has broader implications for all artists who incorporate old photographic negatives into new work — and the collectors who support them. Filed last April, the complaint alleged that Eggleston diluted the value of Sobel’s collection by printing larger, digital versions of some of his best-known works and then selling them for record prices at Christie’s. …The lawsuit was spurred by Christie’s sale last March of 36 poster-size, digital prints of images that Eggleston had shot in the Mississippi Delta more than 30 years ago. Some were created from negatives he had never printed before, while others were based on iconic works… For Sobel, who owns 190 Eggleston works, the success of the sale was part of the problem. “The commercial value of art is scarcity, and if you make more of something, it becomes less valuable,” he told ARTINFO last April. The judge disagreed. Egggleston may have profited from the Christie’s sale, she concluded, but not at Sobel’s expense. Eggleston could be held liable only if he created new editions of the limited-edition works in Sobel’s collection using the same dye-transfer process he used for the originals — a move that would directly deflate their value. In this case, however, Eggleston was using a new digital process to produce what she deemed a new body of work.”

Inspired by Julia Halperin, Blouin Artinfo ow.ly/k6Eb7 Image source Facebook ow.ly/k6E3T

Jason Lazarus the 37 year old American artist, curator, writer, and Assistant Adjunct Professor has been interviewed by Julia Halperin for Blouin Artinfo in an article titled ‘26 Questions for Semiotically Inclined Photo and OWS Sign Artist’. In the article Lazarus states “The documentation of OWS created more questions than answers — the disparate messages on protest signs resisted clear, linear, or congealing narratives that traditional media rely on to produce content. Re-creating the signs, collaboratively, with the public, allowed a way to not only produce those messages documented widely across time and space en masse, but the process of creating them literally slowed down readings of the phenomenon, producing an experience of heightened awareness of the productive (unresolved) questions that linger in OWS’s wake as well as to the economy of protest (materials, aesthetics, scale, textual play/innuendo/multiple layers of meaning). The project is a kind of reverse-photography, imaging 3D sculptures from flattened images demands a careful, multiple-layered, and active reading. …The project … frames a collective process of becoming where our strain of late capitalism is openly and visibly questioned and criticized as incompatible with our current iteration of democracy. Meanwhile, the capital in the system, like water, continues to fill in the gaps with unending resilience and infinite flexibility. … it’s important to me that the project started as re-created signs that actually occupied public space as part of Occupy USF Tampa, and they have since traveled to alternative exhibition spaces on their way to a museum. They will make their way back to alternative venues and street as well. Political art is optimal when it’s most liquid, able to travel through contexts and paradigms. I’m interested in how this project will change as its referents become distant with time.”

Inspired by Julia Halperin, Blouin Artinfo ow.ly/jAq2p Image source Twitter ow.ly/jAq0S

Bjarne Melgaard the 45 year old Norwegian artist born in Sydney Australia by Norwegian parents, raised in Oslo, Norway, and now works and lives in New York has been profiled by Julia Halperin in a Blouin Artinfo article titled “The Most Famous Norwegian Artist Since Munch Brings a Buddy to the Armory Show’. Halperin states “Rising art star Bjarne Melgaard is using his critical clout to introduce a relatively unknown Scandinavian painter to New York audiences. …a series of bright, brash paintings Melgaard created in collaboration with Sverre Bjertnes, a fellow Norwegian a decade his junior. …The artists met 15 years ago, when Melgaard gave Bjertnes his first gallery exhibition at a now-defunct experimental space he founded in Oslo. Now, they often work side-by-side. Bjertnes estimates the two have produced more than 300 artworks together. …The new paintings, made especially for the Armory Show, combine Melgaard’s nihilistic, childlike smears and Bjertnes’s studied, academic figures. (The younger artist’s formal style is informed by years as a student of Norwegian realist Odd Nerdrum.) Text, images of sneakers, and shapeless, abstract shapes dance around portraits of cult individuals like Theresa Duncan and Jeremy Blake, fixtures of New York’s downtown art scene who committed suicide within a week of one another in 2007.  …a series of paintings devoted to New York dealer Mary Boone. “She is the ultimate dealer, and the paintings are about a relationship with her as this sort of unattainable dream,” Bjertnes said. The largest homage is almost nine feet wide and contains dozens of sketches of Boone’s face and close-ups of her eyes. The words, “The beauty of Mary Boone” are scrawled across the front. A yellow Chanel suit hangs primly overtop. Collaborating with Melgaard, who has been called the most famous Norwegian artist since Munch, lends Bjertnes instant legitimacy…”

Inspired by Julia Halperin, Blouin Artinfo ow.ly/j4ybs Image source Rolf Aagaard ow.ly/j4y9T