Kate Moss Reveals Lucian Freud Tatt, Vito Acconci's Miami Playground, and More

Kate Moss Reveals Lucian Freud Tatt, Vito Acconci's Miami Playground, and More
Kate Moss
(Photo by Danny Martindale/Getty Images)

– Kate Moss Reveals Lucian Freud Tattoo: Garage Magazine models aren't the only ones with blue chip body artKate Moss revealed she has a tattoo of two swallows on the base of her spine courtesy the late painter Lucian Freud. The painter offered to give her a tattoo after she posed for him in 2002; he told her he learned to create body art using permanent ink and a scalpel when he worked in the Merchant Navy during WWII. "It's an original Freud. I wonder how much a collector would pay for that? A few million?" Moss asked. "If it all goes horribly wrong I could get a skin graft and sell it!" [Belfast Telegraph]

– Vito Acconci Takes Miami: Though he has made his name hiding under floorboards, Vito Acconci will stand up and make his presence known in Miami this December. The artist, who has been chosen as Design Miami/'s designer of the year, will install a show in two empty retail spaces in the city's Design District. (He's thinking of "something in transparent or mesh-like materials, with a lot of sound and voice.") Acconci will also create a public project for the city: a children's playground to be completed in 2014. The initiatives are part of a larger effort to publicize Acconci's architecture and design work. Though he abandoned art in the 1980s, he remains best known for his masturbatory 1972 performance "Seedbed." [FT]


 Russian Museum Finds Rubens in Storage: The tiny Irbit State Museum of Fine Art in Russia's Ural region has confirmed that a painting that has been sitting in storage since the State Hermitage Museum gifted it to the provincial institution in 1975, deeming it a mere copy of a Peter Paul Rubens, is in fact the work of the 17th-century Dutch master. The painting was given to the Hermitage after the Bolsheviks, who seized it during the Revolution of 1917, were unable to sell it abroad. "It remained in their reserves for 30-some years, and in ours for 36," said Irbit museum director Valéri Karpov. "I dreamed of restoring it. I immediately had the feeling that such a masterpiece could not be a copy." [AFP]

– Glenn Lowry Goes "Gangnam Style": On Friday, the Museum of Modern Art posted a photo on its Facebook page that shows the museum's staff, including director Glenn Lowry, in the midst of shooting their own version of Korean rapper Psy's viral video "Gangnam Style" in the sculpture garden. "Yes, MoMA went Gangnam Style this morning," the post explained, "all in support of Ai Weiwei." Since the Chinese dissident artist released his own version of the video, other supporters, including artist Anish Kapoor, have released their own tributes to support Ai and free speech throughout the world. [Hyperallergic]

– Artist Accuses Danny Boyle of Stealing Olympic Ceremony Idea: In 2009 the artist Lee Merrill Sendall submitted a proposal to the London 2012 art competition titled "Large Spiral Mound" that uncannily resembles blockbuster auteur Danny Boyle's £27-million ($42-million) Olympics opening ceremony, "Isles of Wonder." Now, Sendall is seeking legal advice. "Too many of my concepts and visuals appeared in the ceremony to be shrugged off as coincidence," he said. "I would have liked to have been asked if my ideas could be used and I would like proper credit for the project which I put a lot of work into." [Guardian]

– Conservators Are Art-World Superheroes: Art conservation may not be a glamorous profession, but conservators have been swooping in like art-world superheroes since Hurricane Sandy devastated galleries and artist studios. Services usually cost anywhere from $2,500 to $20,000, but can be far outside that range depending on the damage. The AIC's Collections Emergency Response Team, often likened to a SWAT team for visual art, has dispatched volunteers to the area to help. The Fashion Institute of Technology has also offered to advise on conserving textiles. "This is not a mock-up or a drill or lab experiment," said professor Michele Marincola, chairwoman of New York University's Conservation Center. [WSJ]

Have Pundits Had Enough of the Market?: "The art market has stopped being a source of fascination and crazy numbers, and has started to be a source of sheer disgust," observes Felix Salmon. The Reuters blogger cites a litany of art professionals and writers — among them Dave Hickey, Jerry Saltz, Sarah Thornton, Charlie Finch — who have recently articulated their disgust with the obscene amounts of money collectors are spending on art. "These people made their peace with the market decades ago — but now, they are saying, it has gone too far." [Reuters]

Children Become Tour Guides at MoMA: A new audio tour of the collection of the Museum of Modern Art in New York features insight and analysis from some very young art critics: children ages 3 to 10. "MoMA Unadulterated," as the tour is cheekily named, is produced by the alternative group Audio Tour Hack . "This is Modern Art without the pretentiousness, the pomposity, or any other big 'p' words," the group writes on its website. [TAN]

– Suspected Gardner Heist Informant Pleads Guilty: Manchester, Connecticut resident Robert Gentile, an alleged mobster whom the FBI believes has ties to a group of thieves who may have been involved in 1990's still-unsolved theft of works by Rembrandt, Vermeer, Manet, and others from Boston's Isabella Stewart Gardner Museum, has pleaded guilty to weapons and drug charges in a Hartford federal court and faces four years in prison. Gentile entered the guilty plea, he said, to avoid the high costs of a protracted legal battle; his sentencing is set for February 6, 2013, and he is free on bail in the meantime. [AP]

– RIP Scottish Sculptor William Turnbull: The British modernist's career spanned the entire post-war period up until his death on Thursday at age 90, incorporating the many artistic movements that emerged in the second half of the 20th century — from expressionism and colonial motifs to minimalism — into a distinctive aesthetic that remained rooted in the contemporary while making unmistakable references to the history of sculpture. His work, examples of which are held in the permanent collections of major museums throughout the world, was the subject of a Tate retrospective in 1973, and many pieces will be brought together for a major show at Chatsworth House next spring. [Guardian]


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