Damien Hirst's Crotch Tattoo Cover Banned in England, Tyler the Creator Wins Best New Artist at VMAs, and More Must-Read Art News

Damien Hirst's Crotch Tattoo Cover Banned in England, Tyler the Creator Wins Best New Artist at VMAs, and More Must-Read Art News
Damien Hirst, creator of the controversial "Garage" cover
(© Patrick McMullen)

That Was Fast: The most talked-about cover of Dasha Zhukova's new art and fashion magazine, Garage, has been banned by leading British newsagent WHSmith before the publication even hit newsstands. The offending cover features a closeup shot of a Damien Hirst-designed butterfly tattoo on the pudendum of a 23-year-old model. [Telegraph


Tyler the Creator Lives It Up: It's not often that the person who takes home the MTV Video Music Award for best new artist lives up to the honor in a fine-arts way, but that's impressively the case with Tyler the Creator, who accepted the moon man statue with a typically filthy speech. As the frontman of the teen hip-hop collective Odd Future Wolf Gang Kill Them All, he's been responsible for much of the group's album art, visual identity, and popular Tumblr page, and he directed the black-and-white video for "Yonkers," his solo single that won him the MTV prize. [Contact Music]  


Shakespeare Meets Pace: A few months after profiling Larry Gagosian, the Wall Street Journal's Kelly Crow has turned her reportorial lens to the Pace Gallery, the world's other top blue-chip art seller. The business turned 50 last year and leadership of the $400-million-per-year business's leadership is now passing from founder Arne Glimcher to his son, Marc. Casting the story in broad terms as a classic succession drama, Crow goes rather out of her way to portray Marc as a feckless Hal — "doughier than his wiry father" and beset with doubts — but mainly fails to discern the kingly qualities that would have made for a better-rounded story. For instance, Marc's role in pushing the gallery roster towards a younger generation with artists like Sterling Ruby is too quickly glossed over, despite being the clear future of the gallery. And why so little on Arne's Prospero-sized plans in China? [WSJ

Ai Weiwei Unleashes Fury on Beijing: In a scorching political screed that brings to mind Dante's"Inferno" (the poet had some issues with circa-1300 Florence),formerly detained artist Ai Weiwei has taken to Newsweek to blast China's capitalas a "city of violence," "desperation," and "no hope," where "you cannever trust the judicial system" and "no one is willing to speak out."The artist disowns his Bird's Nest Stadium, now one of the city's landmarks ("None of my art represents Beijing. TheBird's Nest — I never think about it"). He writes, "They always tellme, 'Weiwei, leave the nation, please.' Or 'Live longer and watch themdie.' Either leave, or be patient and watch how they die. I reallydon't know what I'm going to do.... Beijing is a nightmare. A constantnightmare." [Newsweek

At MLK Memorial, a Quote Out of Context: Here's another observation to add to the laundry list of things that make the controversial new Martin Luther King Jr. memorial in Washington, D.C. just a little bit off: one of the quotes carved into the stone was taken out of context. The line, "I was a drum major for justice, peace and righteousness," makes King sound like "an arrogant jerk," according to the Washington Post. His un-edited statement is slightly more subtle, however: "If you want to say that I was a drum major, say that I was a drum major for justice." The Post notes that "an 'if' clause is an extraordinarily bad thing to leave out of a quote," particularly in a monument to a man whose strength came from his ability to say precisely what he meant. [Washington Post]

Jerry Saltz On 9/11 Missing Posters: As part of New York Magazine's "encyclopedia of 9/11," art critic Jerry Saltz meditates on the unnerving missing person flyers that plastered the city following the attack. A few weeks after 9/11, Saltz chose three at random and took them home. "I've never told anyone I removed them from the streets, and after I did, I immediately put them away. Their animistic power and sorrow empty the spirit still and remind me why I hadn't looked at them again until now," he writes. "I could not bear to." [NYMag]  

Conyers Calls for Copyright Law Revision: Representative John Conyers, Jr., famous for his 2009 Bush-excoriating "Conyers Report," has proposed a revision of copyright law for artists. The law at issue largely concerns record labels' control over songs, and it is unclear if there will be any ripple effect on visual arts copyright, an issue more acrimonious than ever. "For too long the work of musicians has been used to create enormous profits for record labels, radio stations and others, without fairly distributing these profits to the artists," said the congressman. [NYT]  

Fawcett Suit Refiled: The lawsuit over an Andy Warhol portrait of Farrah Fawcett has been refiled in Los Angeles Superior Court after federal judges ruled they didn't have jurisdiction in the case. Earlier this summer, the University of Texas sued Fawcett's longtime partner Ryan O'Neal after a private investigator spotted the disputed painting hanging above his bed on his reality show. [Houston Chronicle

Sarasota Dealer Convicted of Fraud: Sarasota art dealer Robert Preiss was convicted of fraudulently selling $300,000 of artwork consigned to him, including a $22,000 Salvador Dali sculpture, without turning over his profits to the original sellers. The gallerist faces up to 30 years in prison. [Herald Tribune

Cash at Auction: A $20,000 pile of cash called "Currency," by Sydney artist Denis Beaubois, will go under the hammer at Deutscher and Hackett in Melbourne tomorrow night. Despite having auctioned off other works worth millions, this marks the first time the house has employed a guard to monitor an artwork. The reserve price on "Currency," is, bizarrely, $15,000. [Herald Sun]  

VIDEO OF THE DAY: Artist — and now, beauty product designer? — Janine Antoni speaks about her collaboration with Park Avenue Summer, a New York restaurant that has hosted a series of artist-chef collaborations. Antoni, who in the past has used her teeth to chisel chunks of lard and chocolate, chose to go in a slightly more dainty direction for this venture. She designed a special menu featuring items you can put both in your mouth and on your body, and, to prove her point, coupled each dish with a corresponding body product. [NY1]