A museum says they gave an artist $84,000 in cash to use in artwork. He delivered blank canvases and titled them "Take the Money and Run."
A museum says they gave an artist $84,000 in cash to use in artwork. He delivered blank canvases and titled them "Take the Money and Run."
BY CAITLIN O'KANE
A Danish artist was given $84,000
by a museum to use in a work of art. When he delivered the piece he was supposed
to make, it was not as promised. Instead, the artist, Jens Haaning, gave the
Kunsten Museum of Modern Art in Aalborg, Denmark two blank canvases and said
they were titled "Take the Money and Run."
Haaning was asked to recreate two
of his previous works: 2010's "An Average Danish Annual Income" and
"An Average Austrian Annual Income," first exhibited in 2007. Both
used actual cash to show the average incomes of the two countries, according to
a news release from the artist.
In addition to compensation for
the work, Haaning was also give bank notes to use in the work, museum director
Lasse Andersson told CBS News via email. Their contract even stated the museum
would give Haaning an additional 6,000 euros to update the work, if needed,
Andersson said. At the time the works were initially exhibited, the Danish
piece highlighted the average income of 328,000 kroner, approximately $37,800,
while the average Austrian salary illustrated was around €25,000, or $29,000.
For the "Work it Out"
exhibit at the Kunsten Museum of Modern Art, Haaning was meant to fill frames
with money. But they were empty.
"We also have a contract
that the money $84,000 US dollars to be displayed in the work is not Jens' and
that it must be paid back when the exhibition closes on 16 January 2022,"
Andersson said.
"The exhibition is called
'Work it Out' and features works of art by many different contemporary
artists," he said, adding that the exhibition It runs from September 24 to
January 16, 2022.
Andersson said when they spoke to
the artist about making the piece earlier this year, he agreed to the contract
and "he indicated a fairly easy job."
But when it came time for Haaning
to actually deliver, he did the unexpected.
"The curator received an
email in which Jens Haaning wrote that he had made a new piece of art work and
changed the work title into 'Take the Money and Run,'" Andersson said.
"Subsequently, we could ascertain that the money had not been put into the
work."
Indeed, the frames meant to be
filled with cash were empty.
"The staff was very
surprised when they opened the crates. I was abroad when the crates were
opened, but suddenly received a lot of mails," Andersson said.
When he finally saw "Take
the Money and Run," Andersson said he actually laughed. "Jens is
known for his conceptual and activistic art with a humoristic touch. And he
gave us that – but also a bit of a wake up call as everyone know wonders were
did the money go," he said.
According to Haaning's press
release, "the idea behind was to show how salaries can be used to measure
the value of work and to show national differences within the European Union.
But by changing the title of the work to "Take the Money and Run"
Haaning "questions artists' rights and their working conditions in order
to establish more equitable norms within the art industry."
"Everyone would like to have
more money and, in our society, work industries are valued differently,"
Haaning said in a statement. "The artwork is essentially about the working
conditions of artists. It is a statement saying that we also have the
responsibility of questioning the structures that we are part of. And if these
structures are completely unreasonable, we must break with them. It can be your
marriage, your work - it can be any type of societal structure".
Andersson said while it wasn't
what they had agreed on in the contract, the museum got new and interesting
art. "When it comes to the amount of $84,000, he hasn't broke any contract
yet as the initial contract says we will have the money back on January 16th
2022."
He said they are in contact with
Haaning, who he called a "well-respected and well-known artist in
Denmark." But they have yet to reach an agreement.
The arts
1929 Platinum, diamond and carved emerald brooch by Oscar Heyman. From Art Deco
BLANCHARD-MARIE-Composicion-cubista_low
1930 “Early Morning” coffee set by Clarice Clifford.
A street scene, David Burliuk
Goblet Imitating Porcelain, Translucent to opaque creamy white glass; mold-blown, 17th century, France
An Italian Rococo Polychrome-Painted Commode, Genoa, ca 1760j
Capital ca. 1130–40, Metropolitan Museum of Art Cloisters, marble.
Cinema foyer, New Victoria, Westminster, London 1930. By E. Wamsley Lewis.
Egg Cup by Adams and Company, American Decorative Arts
USDA Pomological Watercolor Collection
The USDA Pomological Watercolor Collection is one of the most unique collections in the National Agricultural Library (NAL). As a historic botanical resource, it documents new fruit and nut varieties and specimens introduced by USDA plant explorers from the late 19th and early 20th centuries. The collection spans the years 1886 to 1942, with the majority of the paintings created between 1894 and 1916. The plant specimens represented by these artworks originated in 29 countries and 51 states and territories in the US; there are 7,497 watercolour paintings, 87 line drawings and 79 wax models created by approximately 21 artists.
source: https://naldc.nal.usda.gov/usda_pomological_watercolor
MY WRITERS SITE: Dust bowl photos by Dorthea Lang
MY WRITERS SITE: Dust bowl photos by Dorthea Lang: “And the little screaming fact that sounds through all history: repression works only to strengthen and knit the repressed.”― John Steinbe...
American Ashcan School...I adore everything about it and it makes me proud, this is American art, our art, devoid of European influence
Jefferson Market, 1917 (retouched 1922) by John Sloan
Wash Day - A Back Yard Reminiscence of Brooklyn, 1886, William Merritt Chase
McSorley’s Saturday Night by John Sloan
John Sloan (1871-1951), Sun and Wind on the Roof, 1915.
John French Sloan, McSorley’s Bar, 1912
I was sitting in mcsorley’s
E. E. Cummings 1923
I was sitting in mcsorley’s. outside it was New York and
beautifully snowing.
Inside snug and evil. the slobbering walls filthily push
witless creases of screaming warmth chuck pillows are noise
funnily swallows swallowing revolvingly pompous a the
swallowed mottle with smooth or a but of rapidly goes gobs
the and of flecks of and a chatter sobbings intersect with
which distinct disks of graceful oath, upsoarings the break
on ceiling-flatness
the Bar.tinking luscious jigs dint of ripe silver with warm-
lyish wetflat splurging smells waltz the glush of squirting
taps plus slush of foam knocked off and a faint piddle-
of-drops she says I ploc spittle what the lands thaz me kid
in no sir hopping sawdust you kiddo he’s a palping wreaths
of badly Yep cigars who jim him why gluey grins topple to-
gether eyes pout gestures stickily point made glints squint-
ing who’s a wink bum-nothing and money fuzzily mouths
take big wobbly foot-
steps every goggle cent of it get out ears dribbles soft
right old feller belch the chap hic summore eh chuckles
skulch. . . .
and I was sitting in the din thinking drinking the ale, which
never lets you grow old blinking at the low ceiling my be-
ing pleasantly was punctuated by the always retchings of a
worthless lamp.
when With a minute terrif iceffort one dirty squeal of soil-
ing light yanKing from bushy obscurity a bald greenish
foetal head established It suddenly upon the huge neck
around whose unwashed sonorous muscle the filth of a col-
lar hung gently.
(spattered)by this instant of semiluminous nausea A vast
wordless nondescript genie of trunk trickled firmly in to one
exactly-mutilated ghost of a chair,
a;domeshaped interval of complete plasticity, shoulders,
sprouted the extraordinary arms through an angle of ridicu-
lous velocity commenting upon an unclean table.and, whose
distended immense Both paws slowly loved a dinted mug
gone Darkness it was so near to me, i ask of shadow won’t
you have a drink?
(the eternal perpetual question)
Inside snugandevil. i was sitting in mcsorley’s
It, did not answer.
outside.(it was New York and beautifully, snowing. . . .
(Mostly)
From Wikipedia
McSorley's
Old Ale House, generally known as McSorley's, is the oldest "Irish"
saloon in New York City. Opened in the mid-19th century at 15 East 7th Street,
in today's East Village neighborhood of Manhattan, it was one of the last of
the "Men Only" pubs, admitting women only after legally being forced
to do so in 1970.
(
"The place had long been a men-only establishment until 1970, when Ms.
Shaum became the first female patron admitted under a new city ordinance
banning discrimination against women in public places ...")
The aged
artwork, newspaper articles covering the walls, sawdust floors, and the Irish
waiters and bartenders give McSorley's an atmosphere reminiscent of "Olde
New York". No piece of memorabilia has been removed from the walls since
1910, and there are many items of "historical" paraphernalia in the
bar, such as Houdini's handcuffs, which are connected to the bar rail. There
are also wishbones hanging above the bar; supposedly they were hung there by
boys going off to World War I, to be removed when they returned, so the
wishbones that are left are from those who never returned.
Two of
McSorley's mottos are "Be Good or Be Gone", and "We were here
before you were born". Prior to the 1970 ruling, the motto was "Good
Ale, Raw Onions and No Ladies"; the raw onions can still be had as part of
McSorley's cheese platter.
McSorley's
is considered to be one of the longest continuously operating ale houses in the
city due to the fact that during Prohibition it served a "near beer"
with too little alcohol to be illegal.
When it
opened, the saloon was originally called "The Old House at Home".
According
to a 1995 New York Times "Streetscapes" article by Christopher Gray, the
census taker who visited the Irish-born McSorley in 1880 recorded the year the
founder of the pub first arrived in the United States as 1855, but immigration
records show that he arrived on January 23, 1851, at the age of 18, accompanied
by Mary McSorley, who was 16.
Founding
owner John McSorley passed daily management to his son, William, around 1890,
and died in 1910 at the age of 87. In 1936 William sold the property to Daniel
O’Connell, a retired policeman and longtime customer. After O'Connell's death
three years later, his daughter Dorothy O’Connell Kirwan assumed ownership.
Upon her death in 1974 and that of her husband the following year, ownership
passed briefly to their son Danny before the most recent proprietor, Matthew
"Matty" Maher, who purchased the bar in 1977 and owned it until his
death in January 2020.
Women
were not allowed in McSorley's until August 10, 1970, after National
Organization for Women attorneys Faith Seidenberg and Karen DeCrow filed a
discrimination case against the bar in District Court and won. The two entered
McSorley's in 1969, and were refused service, which was the basis for their
lawsuit for discrimination. The case decision made the front page of The New
York Times on June 26, 1970. The suit, Seidenberg v. McSorleys' Old Ale House
(1970, United States District Court, S. D. New York) established that, as a
public place, the bar could not violate the Equal Protection Clause of the
United States Constitution. The bar was then forced to admit women, but it did
so "kicking and screaming". In 1970 Barbara Shaum became the bar's
first female patron. With the ruling allowing women to be served, the bathroom
became unisex. Sixteen years later, in 1986, a ladies room was installed.
Until
2011, McSorley's maintained a mouser cat within its premises until a law was
passed ending the practice.
In 2017,
McSorley's added Feltman's of Coney Island Hot Dogs to their menu, the first
time the menu was altered in over fifty years. Feltman's owner, Michael Quinn,
was a long time employee at McSorley's, and during the late 19th century,
Feltman's Restaurant at Coney Island was a popular destination for the McSorley
family
Notable
patrons
Abraham
Lincoln, Ulysses S. Grant, Teddy Roosevelt, and Boss Tweed. Cultural icons such
as Woody Guthrie, Hunter S. Thompson, Brendan Behan, Paul Blackburn, LeRoi
Jones, Christopher Morley, Gilbert Sorrentino, and George Jean Nathan,
frequented the tavern. Folk singer/guitarist Dave Van Ronk used photos of
himself outside the doors for album covers, and Wavy Gravy read poetry there. Dustin
Hoffman was a patron. In the early 1910s, anarchist Hippolyte Havel became a
regular. Mcsolrleys's most notable regular, however, was Cooper Union founder
Peter Cooper who would regularly hold court in the back room. John McSorley
instructed that his favorite chair be draped with a black cloth every April 4th
following Cooper's 1883 death.
After the
New York Rangers hockey team won the Stanley Cup in 1994, they took the cup to
McSorley's and drank out of it; the resulting dent caused the NHL to take the
trophy back for several days for repairs.
Roofs, Summer Night (1906)
MWW Artwork of the Day (8/2/15)
John French Sloan (American, 1871–1951)
Roofs, Summer Night (1906)
Etching on wove paper, 12.7 x 17.8 cm.
Wetmore Print Collection, Connecticut College, New London
In his late teens, John Sloan worked for a Philadelphia print dealer and bookseller and taught himself to etch by reading a handbook that described the technique. Between 1891 and 1904, he made approximately one hundred etchings for a publisher of calendars, illustrated books, and novelty items. After taking classes with Ash Can School painter Robert Henri, a proponent of realistic depictions of everyday life, Sloan applied these lessons to his printmaking when he embarked on the series New York City Life in 1905-06. Despite critical acclaim for the ten etchings in this series, the public found them too risqué, and Sloan initially exhibited and sold few of them. One of these prints, “Turning Out the Light,” is an example of the sort of innuendo that some viewers found objectionable. However, in choosing ordinary people for his subjects, Sloan was following the example of artists he admired, including Goya, Dürer, Rembrandt, and Hogarth, as well as contemporary illustrators. In fact, a humanitarian outlook informed much of his art, and part of the appeal of printmaking for him was that it made art more affordable and accessible. As art editor for the Socialist magazine The New Masses from 1910 to 1914, he also published many political and satirical drawings.
Primarily between 1891 and 1937, Sloan completed more than three hundred etchings, as well as a few prints in other mediums, before turning almost exclusively to painting. For printmaking, he usually drew from memory and then worked on his plates with various tools and chemicals, evolving his imagery through several states. “Subway Stairs,” for example, went through seven such states before Sloan settled on the version shown here. As the demand for his prints rose, he sometimes enlisted the services of professional printers to help print the edition.
[Source: Deborah Wye, “Artists and Prints: Masterworks from The Museum of Modern Art,” New York: 2004, p. 120]
Sloan is one of the featured artists in the MWW gallery:
* Ashcan School I: Urban Realism Comes to America
Helen Taylor Sketching (1916). John Sloan (American, 1871-1951). Oil on canvas. Everson Museum of Art.
As an instructor at the Art Students League in New York, Sloan quickly attracted a group of students during his summers in Gloucester. Classes consisted of outdoor painting—the primary reason Sloan left the city for summers in New England—where Sloan and his students ambled about the countryside, setting up easel and canvas on rocky outcrops and grass covered fields. Helen Taylor Sketching illustrates such a scene. Taylor was one of Sloan’s students, visiting Gloucester in the summer of 1916 from her home in Philadelphia.
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