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Three Cases of Value Reflection: Ponge, Whitten, Banksy (2021)
Banksy, Love Is in the Bin, 2018, aerosol paint, acrylic paint, canvas, board, 40 x 31 x 7 . Photo: Jack Taylor/Getty Images.
Isabelle Graw,
ISABELLE GRAW’S oft-cited 2009 book,
High Price, which explores art’s economy of fame and prestige as the prototype for creative labor under capitalism, was published just after the collapse of a speculative bubble in the market for contemporary art. Now, roughly a decade later,
Three Cases of Value Reflection: Ponge, Whitten, Banksy arrives contemporaneously with a series of meteoric high-dollar sales of NFTs (“nonfungible tokens”), a class of digital nonobjects that seems to reduce art to pure speculative value and the subject of a market bubble that seems to have burst with unusual speed. The idea that a work of art need not take material form at all is not particularly novel, nor is the idea that such a work might be bought or sold. The NFT phenomenon does, howe
Gabriel J. Shuldiner: The Poetry of Black Raphy Sarkissian / /
“Can there be a more hypnotic colour than black?” is a question that impulsively arises when we encounter a work by Gabriel J. Shuldiner, who has been unceasingly employing this achromatic colour in his unconventional paintings for the past decade and a half. Indeed, the evocative paintings of Shuldiner can be read as relief sculptures, where surface and space are in arresting dialogue. In many instances, the flatness of the painting’s surface has been entirely disrupted and reformulated through chaotic forms that emphatically protrude and recede. In other instances, the quadrilateral frame has been thoroughly contravened through formlessness. Often, both frame and surface have been rendered shapeless, as if to implode the inadequate lexical term “black” and majestically transcend its semantic value through ever-changing achromatic phenomena revealed upon iridescent, cambered bodies mounted on walls.