Kenny Scharf (kennyscharf) gave some love to his “main man,” Mr. Spock — RIP, Mr. Nimoy.
Amidst the glitzy hoopla of Fashion Week, perhaps you noticed Anna Wintour cashing in on old blood debts and commanding her shadow network of New York debutantes, celebrities, and socialites? No? Well, Page Six nonetheless tried to sell us on the idea that the Vogue editor was locked in a fight to the death with the Whitney Museum — which opens its Renzo Piano–designed downtown building in May — over the guest list for the Metropolitan Museum’s annual Costume Institute Gala. “Could the Whitney opening outshine Wintour’s Met Gala?” they asked eyebrow-raisingly, in a story without a single named source.
Okay, Klaus Biesenbach (klausbiesenbach) stepped up his Instagram game hard this week. It was achingly, impossibly difficult to choose between this tease of Bjork’s newly restored swan dress and this one in which he lofts “82 white roses – hand delivered” toward the camera as if offering you love itself — but in the end, we had to go with the above image, a birthday missive to Jerry Saltz, which is apparently also an “impersonation as werner herzog and klaus kinski from ‘mein liebster feind,’” which, just, yes.
Did you hear the one about the high-profile French artist who came to Texas, staged an exhibition, performatively destroyed half of it, and then electronically attacked a local critic, suggesting that she brush up on her historical chops and maybe, you know, get a boyfriend whose amorous attentions might improve her writing? Unless you’ve sworn off social media for the past few weeks, you’ll recognize this as the ongoing saga of Loris Gréaud at the Dallas Contemporary. I was down in the Lone Star state to report on the opening’s choreographed drama; shortly thereafter Gréaud contacted Dallas reporter Lauren Smart via Facebook. His typo-filled tirade called her review of his exhibition “full of ignorances and absurdities….unacurate bullshit, and global lies on the work itself” [sic]. (He then advised her to find a mate who is taking “at least 400mg Anadrol a day.”) A bevy of art websites jumped on the controversy, which also scored coverage in Jezebel (“Man Pretty Sure Critic Who Didn’t Like His Art Just needs To Get Laid.”)
Internet-breaking Kim Kardashian polished her acting chops for a T-Mobile commercial that aired prominently during last night’s Super Bowl. A tinkling piano soundtrack gets the pathos flowing, with Kardashian bemoaning cell phone carriers that don’t honor unused data: “Data you paid for,” she reminds us, “that could be used to see my make-up, my backhand, my outfits, my vacations, and … my outfits.” A dumb conceit, to be fair, but what piqued our interest was a scene in which Kim appears to be walking through a white cube gallery — or some alternate-reality version of the Guggenheim — where glossy, ultra-high-res prints of her tweeted photos are hung on the wall like masterpieces. While Americans carelessly devoured tons of buffalo wings, something monumental was happening in the culture. Who knew Kardashian would end up as the star in a commercial appropriating Richard Prince’s most recent schtick?
An apparent threatening message has raised concerns for the Saturday opening of “HO,” an exhibition by the artist Ryder Ripps at Postmasters gallery in Manhattan. The anonymous note, allegedly sent by email to Ripps early on the morning of January 18, accuses the artist of “acting foolishly lately… misogynistic, offensive, flippant, insensitive, not thoughtful.” The message — which the artist posted on social media — continues: “You need to be taught a lesson, and several people are orchestrating it,” promising promising “highly embarrassing” nonviolent action “outside your opening at some point in the evening next week.”