See Maryam Rashidi’s post on TransitLane in response to an earlier post on ArtWranglers.

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The view from the front windows at Marr Grounds’ house Narra Bukulla at Tanja is a carefully crafted landscape. The foreground is functional, the middle distance is a sculpted lake, and the distant hillside looks like a Fred Williams. If we have been acculturated to see the world in front of us as a series of “landscapes”, it means we see them like a picture waiting to be framed. And similarly, the “landscape” Marr sees every day, into which he places other people’s sculptures, is never complete. Now at last (and echoing an earlier work from 1981) vertical panes of glass march into the scene, and imaginatively draw us into the picture. It works. Beautifully.

P.S. type “Marr” into the search bar and you’ll be taken to earlier posts of the same site.

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You’ll forget your gold stocks, sell your metal detector, and cash in your Telstra chips to buy an Old Master when you read what’s happening at the Maastrict Art Fair (from Souren Melikan in the IHT, thanks to Breakfastpolitics for the lead). Or come to ArtWranglers this weekend and buy a New Mistress…

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When a journalist asks you to explain why sculpture festivals like Sculpture on the Edge are worthwhile, you’re put on the spot. Sculpture, like any of the three dimensional media, are harder to appreciate than the pictorial arts. They’re lumpy, and big, and heavy, and you need plinths or hidden bases to put them on. So you need to make special efforts to organise for them to be seen. Otherwise you would never get an idea what’s going on, because you only ever see them one at a time, like bits of jewelery, as decor in our social spaces. Think of the uproar when a sculpture gets plonked beside a freeway…

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Yesterday ArtWranglers paid a lighting visit to Bermagui’s annual Sculpture on the Edge, and here’s the verdict of the drive-home jury: this furry “falling man” detail is from the work Pitch by Chloe Bussenschutt. While it may have been the least “sculptural” work in the show by traditional criteria, somehow its persuasive three dimensional illusionism and unlikely materials (carpet remnants, some branded “Tate Gallery”) has remained in our memory.

Elsewhere the good Burghers of Bermagui paid not the slightest attention to this flash (flesh) event by the installation artist Alice Fresco, who comandeers vacant plinths at events such as this. This work, Les Fillettes Mignons, is characteristic of Alice’s interventionist aesthetic.

In more relaxed mode, Suzie Bell and Berndt Weiss discovered this whimsical work Another famous cast for that Siren! by the photographer Wesley Stacey. If Wes was attempting to lure these water nymphs, clearly he was looking in the wrong direction! More tomorrow!

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“When the empires fall — all that is left is the art.” So says Jose Mugrabi, who likes to corner the market in the high-flyers of the boom. How the top of the art market is going is chronicled by Eric Konigsberg in the NYT. Thanks to BP for the lead.

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your work, your copyright, your intellectual property, anything to protect your lifestyle! Read this NYT article.

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Here’s a set of 64 mini-vids by the mobile politics collective. Work your way past the rather funereal and ungroovy front page, (black screens we don’t like) and on the right hand side you will find directional buttons which allow you to see sets of four tiny thumbnails of each video. Well worth the journey, and along the way you’ll find works by Lucien Leon, Ivo Lovric, Charlie Sofo, Dan Bell, Reuben Ingall, Liang Luscombe, and Trish Roan. Click on an image and you’re there! And there’s another button below if you wish to download. How you get it on your phone is another story…

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Read and watch Turner Prizewinner and Tate Trustee Jeremy Deller‘s account of his project at the New Museum in New York. Read also Jonathon Jones commentary on Deller’s similar (previous) proposal for the Fourth Plinth. That was a another car damaged by a bomb. This particular car “was destroyed in an attack on the crowded book market at Al-Mutanabbi street in central Baghdad on March 5, 2007. Thirty eight people were killed and hundreds injured.”  Feel free to use the comments function on this post…

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ex a BNN tweat. Apart from The Last Supper metaphor (on which Michael Shaw comments) see how this appears to have been photographed (by Pete Souza, White House) through a mirror, shooting up to exclude the camera from the reflection. Is that tricky or am I imagining things?

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