33 Artists in 3 Acts, page 36
Coffin Containing Artist’s Ponytail (Perry), 305, 308
Cohen, Steven, 322
Cohiba cigars, 51
collaborators, collaboration, 128
Abramovi, 290, 291
Cattelan, 126, 150, 187–91, 201–2, 232, 233–37, 247
Dalton and Powhida, 180, 183–85
delegation vs., 166
in execution and fabrication, 15–16, 18, 24, 30, 38–40, 57, 80, 87, 107, 137, 149, 150, 189, 260, 280, 282–83, 321–22, 336–37
in film production, 353–54, 356
as kinship, 166, 183–85
lone artists vs., xiv, 52, 80
in shared career of Elmgreen & Dragset, see Elmgreen & Dragset
collage, 56–57, 59, 97–98, 282, 342
collectives, cooperatives, 185
collectors, 16, 17, 73, 130, 156, 174, 212, 247, 251, 274, 322, 325, 341n, 348, 369, 370
artists as, 65, 79, 150, 250, 258, 261
as participant in Fraser’s Untitled video, 249, 275–77
as patrons, 129
Qatar royal family as, 274–75, 327–28, 353, 364n, 366
Cologne, art scene in, 4
Color Field, 221, 326
Colossus of Constantine, 187
Columbia University, 335
comedy, 207, 239, 257
commercialism:
Hirst and, 273–75, 321–23
Koons and, 17, 33, 46
commissioning, commissioned work, 39, 130, 291, 322
Common (rapper), 220
“Communicating and Not Communicating” (Winnicott), 348
communication, 205–6, 287, 348
Communist Manifesto, The (Marx and Engels), 51
Communist Party, 24–25, 32, 41, 53, 84, 88, 114, 332
competition, xv
among artists, 65, 150, 182, 258
avoided by C. Dunham and Simmons, 156
envy and, 267
interview as, 108
kinship vs., 182, 228
as theme, 241
composers, 282
computers, as artists’ tool, 16, 30, 44, 166, 174–75, 180, 214, 226–27, 279, 280, 281, 306, 353, 357
con artists, xiii, 127, 159, 161
conceptual art, 62, 257, 309
gay, 5
painting vs., 51
retinal vs., 340
Condo, George, 129
condolence cards, 184
confidence, xiii, xiv, 88, 102, 159, 173
conservation, of art, 226–27, 327
contemporary art, contemporary artists:
defined, 12–13, 55, 59, 64, 208
historically juxtaposed with, 106–7, 303, 308
cooperatives, collectives, 185
copyright, 280
Corinth, maid of, 254
Cornwall, Connecticut, 135, 137, 141, 226, 239, 240, 242
Cose, Ellis, 220
Cosmic Slop (Johnson), 221
Courbet, Gustave, 17–18, 19, 79, 107, 143
Cowboys Milking (C. Noland), 327
cows, calves, 257, 273
Cow Wallpaper (Warhol), 315
craft, 255–377
art vs., 80, 305, 308, 337
of being an artist, xiii, 309, 333
digital technology in, 306–7
in execution of art, xv, 51–52
of filmmaking, 353–60
craftspeople, 87, 337
defined, 308
dependence on fabricators as insult to, 322
evolution of, 306–7
in filmmaking, 358, 360
Cramer, Erin, 294
creativity:
criticism as, 12
defined, 206
delegation and, 80
ego and, 288
evolution of, xvi
innovation in, 228
originality and, 152, 191, 228, 283–84, 291
and outsiders, 248
risk in, 291–92
sexual source of, 16–17
and technical skills, 358
credibility, continuum of, 179
Creole language, 357
crime, criminality:
of artists, 127–28, 152, 160–61, 180–81, 190, 263
as theme, 40, 326
Crimp, Douglas, 240
critics, criticism, 16, 73, 166, 181, 268, 275
negative, 158–59, 260
role of, 234
Cromwell, Oliver, 308
cross-dressing, xiii–xiv, 33, 62, 66, 253, 272, 280, 305, 310
Crow (Hirst), 259
Crown Heights, Brooklyn, 95
Cruz Azul, 331
Cruzvillegas, Abraham, 334, 336
Cuba, 51, 62
Cuisine et la Guerre, La (Dittborn), 38
cult of personality, 202, 280
curators, 16, 51, 73, 86–87, 97, 98, 121, 156, 166, 168, 199, 221, 249, 267, 314, 317, 348, 357
artists and, 214, 234–36, 252, 253, 262, 326
of biennials, 61, 70, 126, 187–89, 191, 234–37, 245, 254
rogue, 126
role of, xiv, 10, 30, 105–6, 109, 118, 129, 151, 173, 188, 190, 212–13, 233–37, 252, 254, 271–72, 275, 328, 340, 364–65, 374–75
see also specific individuals
Dadaism, 130, 234
Daddy, Daddy (Cattelan), 201
Dahl, Roald, 150
Dalí, Salvador, 6, 19, 79, 81, 168, 272
Dalton, Jennifer, 178, 179–85
in Hurricane Sandy, 227–28
and Powhida, 182–85
studio of, 179–81
Damien Hirst and Sons Ltd, 368
Darger, Henry, 138
data, art based on, 179–81
Daughters of the Revolution (V-Girls), 294
David (Michelangelo), 121
David Zwirner Gallery, 166, 227
Davis, Robert, 221
Day 29 (Nude with Dog) (Simmons), 196
“Da Yan River—My Wet Nurse” (Ai Qing), 24
daybeds, 217–18, 221
dealers, 15, 51, 73, 99, 119, 156, 184–85, 194, 228, 253, 262–63, 272, 276, 298, 317, 325, 327, 343, 348, 356
artists as, 49, 207
loyalty to, 174
see also specific individuals
Dealing (L. Dunham), 141–42, 144, 194
death:
fear of, 262
obsession with, 316
as theme, 40–41, 126, 130, 131, 189, 268
de Carlo, Massimo, 119
deconstruction, 359
Deitch, Jeffrey, 272–73
de Kooning, Willem, 295–96
Delaunay, Sonia, 341
democracy, 12, 57
Deng Xiaoping, 88
Deren, Maya, 240
Derrida, Jacques, 31
“Designing China” conference, 9–11
Desk Job (Fujiwara), 121
Devaux, Julien, 166
D Hirst Ltd, 368
diaries, 136
diaspora artists, 64
Dickson, Brenda, 173–74
didacticism, 97–98
Dinner Party (Chicago), 18
directors, 205–8
Dirty—Jeff on Top (Koons), 5, 271
disappearance, political:
in Chile, 40–41
in China, 43–44
dishdashas, 78
“Dittborn,” as brand, 40
Dittborn, Eugenio, 34, 36, 37–41
politics in art of, 37–41
studio of, 38–39, 87
Dittborn, Margarita, 39
divorce, 333
as analogy for curators and artists, 236
Documenta exhibition, 12–13
documentaries:
on Ai Weiwei, 24, 91–92
artworks imitating, 64–65, 355
on Cattelan, 126
on Kusama, 313, 316, 317
photographs vs., 72
dogs, 164, 257, 299
taxidermied, 119
Doha, Hirst retrospective in, 362, 363–70
dolls, doll houses, 96, 134, 136, 144, 161, 193, 241, 248
see also sex dolls
Dolphin (Koons), 4
Donmar theater, 355
doubling, 217–19, 223
“drag kings,” 307
Dragset, Ingar, 73
see also Elmgreen & Dragset
drawings, 144–45, 165, 180, 181
life, 332
satirical, 184
drip paintings, 221, 314
Dropping a Han Dynasty Urn (Ai Weiwei), 8, 11
Du Bois, W. E. B., 219
Dubuffet, Jean, 248
Duchamp, Marcel, xiii, 200, 235, 340
influence of, xvi, 6, 9, 19, 46, 127, 130, 152, 191, 305
Dunham, Carroll “Tip,” xv, 135, 140, 141–46, 154, 194–95, 205–7, 224, 225–30, 242, 248
artists defined by, 145–46, 228, 255
on Hirst, 322
ill health of, 225–26, 229
Koons compared to, 144–45
and Simmons, 155–61
studios of, 141–45, 161, 229
at Venice Biennale artists’ opening, 249–53
Dunham, Grace, xvi, 134, 137, 142, 156, 158, 193–96, 229, 242
artists defined by, 195
Dunham, Lena, xv–xvi, 133–36, 141–42, 144, 156, 158, 185, 193–94, 204, 205–8, 225, 229, 239, 241–42
artists defined by, 206–7
Dunphy, Frank, 274
“Early Black and White Interiors” series (Simmons), 136, 193
“Early Color Interiors” series (Simmons), 136
East Village, N.Y., 182, 233
“Easyfun Ethereal” series (Koons), 79
eccentricity, 168
Economist, 363
Eden, garden of, 144
Eliasson, Olafur, 87
Elmgreen, Michael, 118, 120–22, 252
Elmgreen & Dragset, 73, 116, 118, 125, 201, 245
childhoods of, 120–21
at Venice Biennale artists’ opening, 252
embarrassment, 207, 242
Emin, Tracy, 179
È morto Cattelan!, 126
emotions, art driven by, 52, 57
Empire (Warhol), 283
Encyclopedic Palace, The (Auriti), 251
“Encyclopedic Palace, The” exhibition, 245
End of Anger, The (Johnson), 220, 221
Engelen, Jean-Paul, 366
entertainers, entertainment, art as, xiv, 34, 53, 65, 72, 159
“Equilibrium” series (Koons), 19, 46
Ernst, Alex, 221
erotica, 107, 271–73
gay, 121–22
Escuela Nacional de Artes Plásticas, 30–31
essays, 350–51
Ethel Scull 36 Times (Warhol), 236n
ethics, artists and, xv, 9, 13, 31
etiquette, art-world, 262–63
Evangelista, Linda, 202
Evergreen State College, 71
Exaltation (Koons), 272
excrement, 152
exoticism, 33, 57, 66
exploitation, 24, 31
extroverts, 157
Facebook, 183
Fairytale (Ai Weiwei), 12, 45
Fake design company, 43–45, 85, 88
Fall of Communism as Seen in Gay Pornography, The (Jones), 121
False Idol (Hirst), 273, 275
families:
acceptance and, 120
art as surrogate, 153
Dunham, see Dunham, Carroll; Dunham, Grace; Dunham, Lena; Simmons, Laurie
estrangement from, 172
gay community as, 121
kinship in, xv–xvi, 214
Family Business, 201
fantasias (fantasies; costumes), 348
Fantôme Afrique (Julien), 356
Farrakhan, Louis, 218
fashion, 57, 218
Abramovi and, 289
Cattelan and, 125
industry, 175
Kusama and, 315–16
Sherman and, 212
Felix (Cattelan), 189
feminism, 18, 59, 65, 95–102, 160, 172, 183, 296, 349
Ferrari, Peirpaolo, 201–2
fertility, as theme, 106, 108, 142, 158, 226
fetishes, 305
“Fiction” series (Ataman), 62–63
“Field of Art, The” course, 298
Filicudi island, 201
films, filmmaking, 63–64, 133–36, 137, 140–41, 156, 167, 205–6, 240–41, 353–60
art as production of, 353–60
commercial vs. independent, 354–55
craft of, 358
documentary, 72, 126, 313
editing of, 283
improvisation in, 354–55, 359
montage of clips from, 279–84
multiple screens in, 356
soundtracks for, 282–83
see also video art; specific artists and works
Final Cut Pro software, 280
financial crisis (2008), 274
art market and, 350
Finch, Adam, 356, 358, 360
Fireflies over the Water (Kusama), 315
Fischer, Urs, 235
Fischl, Eric, 230
Five Deaths (Warhol), 261
Flash Art, 5
flip-flops, 340–41
Flowers and Trees (Milhazes), 338
folded drawings, 34, 37–41
folk art, 32–33
Fondation Beyeler, 248–49, 251
Koons exhibition at, 91–92
Fondation Louis Vuitton, 358, 370
Forever (Ataman), 63
Forever Bicycles (Ai Weiwei), 30
Forgotten Baby (Elmgreen & Dragset), 201
For Heaven’s Sake (Hirst), 362
formalists, 143
“For Tammy Rae,” (Hanna) 71
Fortes Vilaça, 340
For the Love of God (Hirst), 274, 323, 332, 362, 364–65
Foster, Norman, 43
found art, 38, 326
Fountain (Duchamp), xiii, 152, 305
Four Bicycles (There is Always One Direction) (Orozco), 30
Fraga, Juan, 336–37
Fragonard, Jean Honoré, 19
Frankfurt, art scene in, 105–9
Frantz Fanon: Black Skin White Mask (Julien and Nash), 357
Fraser, Andrea, 264, 265–69, 270, 271, 275–76, 294, 295–300, 306, 346, 347–51, 372, 373–77
on Abramovi, 376
artists defined by, 266, 295–300, 376–77
art market criticized by, 350
essays of, 350–51
on Hirst, 376
Hirst compared to, xv, 275, 277
Kippenberger monologue by, 349
moral heritage of, 296
office/studio of, 298
freedom:
artistic, xvi, 52–53, 202, 369
and omnipotence, 299–300, 321
of speech, xv, 46, 88, 92, 368
of thought, 23, 41, 52
through technology, 112
freeport, 364n
“Freeze” exhibition, 262
Freud, Lucian, 17
Freud, Sigmund, 217–18, 299
Freudian interpretations, 6–7
Freud Museum, 217
friendships, 158
Frivolous Now, The (G. Perry), 309
Fujiwara, Simon, 121
Gaddafi, Saif al-Islam, 321
Gagosian, Larry, 49, 174, 268, 328
and Koons, 77–80
Gagosian Gallery:
Britannia Street, 321–22
N.Y., 15, 79, 328, 370
galleries:
function of, 99, 317
kinship of, 166
see also specific galleries
garbage dump, 247
Garcia, Juan, 166
gay pride, 296
gays, 317
as artists, 5, 17, 62–63, 77, 252, 357–58, 360
in collaborative art, see Elmgreen and Dragset
as subjects of art, 62–66, 70, 354–55
see also lesbians
Gelant, Germano, 236
Geldzahler, Henry, 236
gender, 130, 157, 194–95, 303, 305–6
and career success, 133, 135–36, 179–81, 289
in personas, xiii, 173, 175, 280
as subject of art, 307
see also cross-dressing; men; women
General Idea, 5, 232
Generali Foundation, 276
genitalia, 58, 121, 137, 142, 158, 195, 222, 227, 249, 250, 272, 296, 315, 316, 364
Geppetto, as analogy for artist, 189
Germany, art scene in, 105–9, 347–48, 367
Giacometti, Alberto, 167, 179
giardini, 117, 121, 245, 246, 249
Gilbert and George, 118
Gilliam, Sam, 221
Gingeras, Alison, 271, 275
Gioni, Massimiliano, xvi, 184, 201, 233–37
artists defined by, 235, 246
as Cattelan “imposter,” 126, 150, 234
at Venice Biennale artists’ opening, 245–46, 249, 252, 253, 254
Girls, xvi, 205–8, 239
Gladstone, Barbara, 56, 194, 228, 250
Gladstone Gallery, 142, 225–26
God:
as an artist, 366
Muslim use of, 365
transitional object as, 304
Godfather, The, 190
Goldberg, RoseLee, 253
Golden Calf, The (Hirst), controversy over, 274, 323, 370
Golden Globe Awards, 239
Golden Mask (Abramovi), 291
Goldsmiths College, 262
González-Torres, Félix, 29, 62, 65, 69–70
Google, 13
Goose Wot Laid the Golden Egg, The (company), 368
Gordon, Douglas, 283
Graceland, 365
graffiti, 187, 296–97
artists, 58
Graham-Dixon, Andrew, 175
Graw, Isabelle, 107–8
Great Wall Walk, The (Abramovi), 290
Greenberg, Clement, 234
Greenberg, Jeanne, 194, 240
Green Line, The (Alÿs), 167–68
Greenpoint, Brooklyn, 95
Greenwich Village, N.Y., 29
Guggenheim Museum, Cattelan retrospective at, 151, 199–200, 202
Guston, Philip, 221
Haerizadeh, Ramin and Rokni, 78
Hagenberg, Roland, 17
hallucinations, 313, 317
“Hands Up for Hirst: How the bad boy of Brit-Art grew rich at the expense of his investors” (S. Thornton), 363
Hanging Heart (Magenta/Gold) (Koons), 80, 258
Hanna, Kathleen, 71
Hannah (L. Dunham character), 208
“happenings,” 318
Harlem, art scene in, 126–29, 131, 328
Harper’s Bazaar Art Arabia, 365, 367
Harvard University, 191, 219, 267
Harvey, David, 355
Hassan, Sheikh, 369
Hatoum, Mona, 65
Haus der Kunst, 12, 44
HBO, 156, 205–6
Hearst, Patty, 326
Hearst, Randolph, 326
hedge funds, 354, 355
Heibling, Lorenz, 50
Hendricks, Barkley, 222–23
Hepburn, Audrey, 240
Heron Tower, 353
He Said, She Said (Dalton), 181
He Thinks He’s Picasso (Bonami), 190
Hidden Mother, The (Nagler), 254
