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Art Basel roundup

ART BASEL, Basel

Jeff Koons, Cracked Egg (blue).
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Laura McLean-Ferris

Jeff Koons’s giant blue egg sculpture—that outlandishly chatoyant and seductive object—looks as though it could have landed from another planet or another time. Its cracked top serves as a reminder of the way that Koons created a fundamental fracture within art history with his compelling work, and I was reminded... continue reading
Art | 43 | Basel

ART BASEL, Basel

Art | 43 | Basel: Art Basel, 2012.
by

Colin Chinnery

Upon entering Art Basel straight off the train from Kassel, I cannot but help recall the last time Documenta coincided with Art Basel. Back in 2007 the art market, animated by the roaring finance sector, had almost superhero-like qualities, with special powers like selling work before it even existed, and... continue reading
Marjetica Potrč, Acre: Rural School, 2012.
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Quinn Latimer

A few months ago there was a photograph circulating on Facebook that made my stomach turn. Not knowing where to find it now, I simply (if wincingly) typed into Google the following: “photograph of Indian chief crying.” The image immediately appeared, conjured magically out of the internet ether. There he... continue reading
Art Basel roundup

ART BASEL / NEW JERSEYY / KUNSTHALLE BASEL / MUSEUM FüR GEGENWARTSKUNST, Basel

View of Galerie Isabella Bortolozzi, Art Basel 42, 2011.
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Vivian Sky Rehberg

One hears a lot of grumbling about Art Basel. Or maybe it’s just the leftist company I keep. Still, I was surprised to meet more than a few people who had travelled all the way to Basel for reasons peripherally related to the fair but who had refused to step... continue reading
Art Basel

ART BASEL, Basel

Petrit Halilaj, Kostërrc (CH), 2011.
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Quinn Latimer

How does one write about an art fair? Dear reader, I am being sincere. If one is not an art market journalist gleefully scribbling down the cost of a collector or celebrity’s (or celebrity collector’s) pre-preview purchase of huge German neon painting, my question is less rhetorical than the subtext... continue reading
Michael Grossert's "3 Playgrounds, 1967–1975" at New Jerseyy, Switzerland
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Quinn Latimer

It can be difficult in our age of post-everything to comprehend the political import and impact of art and architecture in the 20th century, when stakes—see: two world wars, and the modernist and/or progressive ardor that arose around them—were high. It is far easier in our climate, in which art and politics often feel like estranged commuters, to understand such work as part of a formalist or art-historical continuum. An exception might be the experimental,... continue reading

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