María Celeste Arraras y su cabeza llena de aire en Rotund



"We try to be the live-and-let-live kind, especially when it comes to artworld spats, tantrums, bouts of paranoia, internecine shit-flingings, red-faced, bug-eyed spittle-fests, pissant stampings, hysterical finger-pointing, and other hissy fits, but someone must have really crossed the line to ruffle the always well-preened feathers of Javier Martínez, the astute, carefully understated blog-jockey over at autogiro.

Martínez took pronounced umbrage here at the much-discussed move by el Museo de Arte de Puerto Rico (MAPR) to invite a television variety-show bombshell-poseur into its inner sanctum, to sell the museum to the tourist trade. Actually, to say “much-discussed” does not begin to describe the holding of noses, cries of disbelief, and barfing sounds that accompanied the announcement that catástrofe-y-disastre-loving María Celeste Arrarás (“Goat born with two heads in Aibonito!” “Comerío mother of ten crushed by toppling armoire!”) had created a segment on the museum for a program she hosts called “Great Taste,” which will be aired by the Travel Channel one of these days as part of a tour of la Isla del Encanto."

Maria Celeste Arraras: Editorial de Dr. Pitt von Pigg




Anyway. Luego de haber leido en los blogs de tantos infames Blogs y Sites donde le tiran chupas, cuajos rellenos de y pampers sucios a María Celeste, al MAPR y a Paris, me veo, tengo que, me han exigido a, debo expresar mi deshalago con todo este mundo del arte In en esta desdichada ínsula de paquete. Dice el filósofo, teaoremático, crítico y políglota (además de pitoniso, mago y polítogo) de Richy Montaner en su libro ‘Imágen del perfecto idiota latinoamericano’ que si hay algo que destaca al hispano colonizado, sandunguero y antiyanqui es el complejo de inferioridad. A ello le sumamos uno de los aspectos más tristes y desgraciados del comportamineto sub-humano: la envidia. Por la envidia fue que Caín mató a su hermano Abel a razón de que Yaveh prefirió comer de las verduras y viandas que éste sembraba a diferencia de las rancias y flacuchas obejas y cabros que el asesino prefirió brindarle. Lo que implica que en verdad Yaveh es vegetariano, ¿ok?

Anyway. Tal complejo de inferioridad envidiosa lleva al artista puertorriqueño promedio al descoque cuando uno de ellos, o en este caso particular, cuando una animadora de excelso rango como María Celeste Arrarás es contactada para atemperar con su inverosimil, radiante, resquebrajante personalidad un programa que se supone lleve el nombre de Puerto Rico y las artes copiadas que se hacen aquí hacia el orbe global y universal de los países alineados al servicio de su majestad imperial, entiendase USA (por sus siglas en inglés). Entonces, siempre vienen dos que tres mangansones envidiosos cuyo propósito es el ‘no comer ni dejar que nadie coma’ a empezar a criticar y a joder por los cuatro vientos. No en balde es que los comunistas siempre están al asecho y no tienen reparos en algún día convertir a esta turística isla en una extención del contubernio de Satanás – entiéndase: Fidel, Chávez, Ebo, Krichner, Lula. Y decimos esto porque es que aquí hay tanto machetero escondio que al momento en que los americanos se vayan (como ya se han ido de Roosevelt Roads, Ramey Fields, Arecibo Big Radar y tantas otras bases) se empezarán a secar los cocos, dejará de llover, el mar se retirará, nos invadirá un ejército de negros mambises, se acabó el cupón, el creepy, la manteca y el crack, las pasarelas, los piscolabis, el éxtasis, el Plan WIK, las alcapúrrias, el SS, plan de retiro, Wendis, Medicare, McDonald, Medicaid, B. King, los camarones, la ensalada de Alaskan Crab, Popeyes, se acabarán las carreteras asfaltadas, los aires acondicionados, y nos cubrirá a todos una inmensa maleza cuyos matojos y bejucos nos enrredarán de tal forma que no vamos a encontrar ni el camino al baño.

¡Ah!, también se me olvidaba, se acabarán los videts para señoritos y los hinodoros con agua adentro. Volveremos a cagar en letrinas y sin papel Bounty. No abrá luz eléctrica y tendrán que volver a alumbrarse con quinqué, y eso si hay matches, ¿ok? Anyway. ¿Y qué malo hay cuando un exmachetero como Domingo García decide soltar el machete? ¿Acaso no lo hizo Sonny Rivera García, Elizam Escobar (sobrino de Pablo Escobar - RIP), Toño Martorell y tantos, tantos otros? Además… la cárcel NO es para artistas. Si no me creen pregúntenle a la bella modelo aquella que pasó unos años en una mazmorra dominicana comiendo mazamorra con mangú.

Sí, infamia, bellaquismos pubertarios y parceleros, artistitas pueblerinos y provinciales, jaibería de la chusma iconoclasta y pendencieros de orilla e inflamadores de egos ajenos, eso es lo que tenemos aquí criticando a la crema en todos esos blogs quijotescos y malsanos. Que si el arte es para amantes, que si el arte es para los blanquitos, que si el arte es hecho por genios alados, que si el arte es bla, bla, bla. Ya me cansé. Estoy hasta la coronilla de mis putrefactos colmillos. Si no es una cosa, es la otra. Y si en el camino hay uno que se salga del entorno parcelero, que salga del caserio, pues a fusilarlo tal y como hizo el barbudo y asmático ese del Che (porque una cosa es el Che en una t-shirt barata, pero otra muy diferente es el Che en la realidad) en los infames juicios populares. Que se entienda de una vez porque NO lo voy a repetir más: AQUEL QUE SE SIENTE DEFRAUDADO POR SU PUEBLO NO ES MÁS QUE UN ALFEÑIQUE DE HUMANIDAD, UNA GAJO DE CAQUITA, UN COMUNISTA ACOMPLEJAO.

¿Acaso no vieron la película The Last Temptation o la otra The Passion of Christ? Todito está ahí. ¡Fue su propio pueblo el que lo clavó! Lo que tienen que hacer es darle gracias al Creador por estar respirando todavía y por el hecho de que tenemos a una anfritiona como M.C. Arrarás – que de paso, se ve requetebien frente a esa obra maestra del Florón de Rafi, pues los colorines van en tono. Cualquiera diría que MCA es parte de la obra en sí - . Tampoco, y esto lo digo con mucho respeto, deben inflamar o embarrar el nombre de esas dos directrices, divas del orden cultural. Me refiero a la doctora Teresa Tió y a la artista gráfica María ‘Miyuca’ Zomoza. Aunque digo que doña Teresa proviene de la alcurnia de doña Lola, ha tenido tiempo suficiente de enderezar el camino y limpiar el sagrado nombre de tan noble familia.

A Miyuca pues… ¿qué de malo tiene ser hija de Anastasio Zomoza? No hablen, repito, no hablen mal o echen más gajos de caquita a tan excelsas damas. Eso huele bien feo. Una fue directora del ICP cuando se vendió a precio de quemazón el vejestorio ese del hotel San Gerónimo (antiguo protíbulo de marinos y deambulantes) que se está cayendo en cantos. ¿Además, no fue Gerónimo un indio criminal mata vaqueros? ¿Acaso no vieron la película The Conquest of the West? La segunda es la actual directora de la Larra High School Building Square, y a la padagogía debemos pleitesía. ¿Que si MCA es una airhead como Paris Hilton? ¡Bamblinas! Si hay algo que estas dos chicas tienen en demasía en celebro. Sí. Un celebro bien chévere para evital el amonguillamiento ese que calcome las sinfulas pretestatarias de la mayoría de esos balbúceos sinocéfalos reguetoneros de campo.

¡Así que, anyway; a trabajar! Que es muy fácil criticar y no pintar. Hagamos cuadros bellos. Hagamos cuadros hermosos. Hagamos eco de aquellos genios de nuestros tiempos: Picasso, Botello, Botero, Miguel Angel y da Vinci, Azaroza y Calmadilla. Sólo así, mis queridos camaradas, sólo así liberarán sus almas de las garras de la Quintupleta de Satanás, …. Para enseñar sus obras al mundo en Great Taste del MAPR. Al rojo vivo. Anyway.



von Pigg en MSA-X"

Sao Paulo sin Anuncios



articulo en Adbusters"

Contaminación visual y banners en San Juan, Puerto Rico por Carmen Millán Pabón




Algo bueno en el Día....muy buen articulo por Carmen Millán...una pena la reportera no viera la gigantesca exposición en el Sagrado Corazón basada en esta problematica...






Bombardeo de anuncios
La saturación de la publicidad es un atentado a los ciudadanos.

Por Carmen Millán Pabón /cmillan@elnuevodia.com


Nota del editor: Primero de una serie de artículos sobre la contaminación visual en Puerto Rico.

¿Contaminación visual, o promoción efectiva? ¿Adefesios citadinos o muestras del ingenio en mercadeo? ¿Una forma de generar ingresos para los dueños que alquilan sus propiedades o estorbo público para aquéllos a quienes le obstruyen la vista?

La forma de ver los “billboards” y el resto de la publicidad exterior que abunda en distintos sectores del País depende del cristal con que se mire. En la Isla, la proliferación de la promoción masiva en los espacios públicos despegó hace menos de 10 años. La publicidad a cada lado de las vías y en los edificios, que intimida al conductor, afea la ciudad y muchos violentan las reglamentaciones.

Sigan o no las reglas de ARPE, el vicepresidente de la Sociedad Puertorriqueña de Planificación, Anselmo De Portu aseguró que “afean” la ciudad y pueden representar una distracción para los conductores. “Hay que buscar la ciudad entre los billboards”, dijo, temeroso de que la proliferación de anuncios “reglamentados” convierta a San Juan en un lugar como Las Vegas, donde hay tantos letreros que no hay forma de identificar los edificios.
Comparó a las telas que cuelgan sobre los edificios con máscaras de disfraces.

Por Carmen Millán Pabón

En sus inicios, los “mesh” o telas que cubrían los multipisos de un banco en la Milla de Oro en Hato Rey y de una línea aérea ubicada estratégicamente en Santurce, a la entrada de El Condado, llamaban la atención por sus monumentales tamaños. Tenían el privilegio de no competir con otros.

En la avenida Roosevelt había la promoción de una cerveza extranjera con varios maniquíes que simulaban ser “obreros” instalando el anuncio. Esta importante ruta se ha convertido en “un shopper” que para identificar algunos negocios hace necesario escudriñar bien entre vistosas y enormes promociones. Una de ellas, un enorme rollo con tiras que simula ser papel sanitario. Ahora, rutas completas de las autopistas están circundadas de estructuras con capacidad de promocionar hasta seis anuncios distintos por sus dos caras. En la entrada al Túnel Minillas, cerca al Hospital Pavía, hay una sobredosis publicitaria. El propio hospital se oculta tras las promociones.

El arquitecto Segundo Cardona lleva años alertando sobre lo que según dice, se convirtió en “un problema que ya es obvio”: la liberación de la legislación que controla la ubicación de la publicidad en el exterior.
Antes, Puerto Rico había sido uno de los pocos países que contaba con una legislación que protegía el patrimonio natural de la “contaminación de anuncios de gran escala”. Cardona, quien diseñó el edificio de La Telefónica en la Avenida Roosevelt hace más de 20 años, dijo que una ciudad se supone que sea “la suma de edificios”.Pero ahora se puede decir que áreas de la zona metropolitana son “un collage de anuncios” que mutila los edificios.

Sin opción de evadirlos

“Los ciudadanos saben que encontrarán anuncios en televisión, radio, en periódicos y pueden decidir si los ven o no, pero no tienen opción de evadirlos cuando salen a la calle y se ven bombardeados de mensajes en los espacios públicos”, aseguró el arquitecto. Cardona interpreta la situación como un atentado contra el derecho de los ciudadanos y en el caso de los “mesh”, afectan el derecho de los empleados de ver con claridad al exterior. De noche, añade, los alumbrados de los “billboards” afectan a los residentes de la zona. La reglamentación para la colocación de anuncios en las vías públicas y edificios la establece la Administración de

Reglamentos y Permisos mediante la “Ley uniforme de rótulos y anuncios de Puerto Rico” de 1999, y muchos de ellos cuentan con el visto bueno de la entidad. Antes, los regulaba la Junta de Planificación. Según Luis A. Vélez Roche, titular de la Administración de Reglamentos y Permisos (ARPE), al momento en los tribunales de San Juan, Bayamón y Carolina hay, por lo menos, 30 casos de anuncios ilegales, o que incurren en algún tipo de violación. “Hay compañías bien responsables, pero hay algunas que no. Si no, no tuviéramos tantos casos en los tribunales” dijo Vélez Roche.

Salander O' Reilly Gallery y Kurt Lidtke (galerias en aprietos)

Dos noticias continuacion:

Artnet News
Oct. 17, 2007

DRAMA ON EAST 71ST STREET
The troubles of the Salander-O’Reilly Gallery, already bedeviled by lawsuits, have worsened [see Artnet News, Aug. 14, 2007]. Visitors to a scheduled opening at the gallery in the Forstman Mansion on 71st Street and Madison Avenue last night found the premises closed. A sheet of paper taped to the door indicated that a much-awaited Caravaggio exhibition and another show of "Masterpieces of Art" had been postponed. The centerpiece of the exhibition was Apollo the Lute Player, said to be by Caravaggio and valued at an impressive $100 million.
"Postponed" is an understatement. As security guards crowded the sidewalk and vans lined the Upper East Side streets, dozens of paintings were carted off from the gallery yesterday after the London dealer Clovis Whitfield, the major lender to the show, panicked and announced that disputes around the embattled gallery did not make him "feel secure."

Art dealer Larry Salander, who had operated his gallery there since late 2005, had hoped that sales from the two shows would cover the gallery’s mounting debts. Unpaid bills and charges of fraud had triggered more than 20 lawsuits from landlords, creditors and consignors.

On Monday, Oct. 15, 2007, Salander settled claims brought by two of those creditors. He agreed to hand over more than 600 paintings to settle a suit brought by Donald Schupak, a partner and investor in Renaissance Art Inc., an art fund that Salander formed with Schupak and his son, Andrew Schupak. (Schupak is the CEO of Triumph Apparel, which was formerly Danskin Inc.). The Schupaks obtained a court order to shut down the gallery on Oct. 11. As part of the settlement Monday, according to Schupak lawyer Barry Slotnick, the investors joined Salander in urging New York State Supreme Court judge Richard Lowe to allow the gallery exhibition to take place.

In the second settlement, hedge funder Roy Lennox of the New York firm Caxton Associates was awarded six works of art and the gallery’s library of books on fine art, on the provision that Salander would add cash and jewelry to the award if the library were assessed at a value of less than $1 million.

Judge Lowe ordered the gallery locked on Oct. 11 to prevent Salander from removing works of art from the premises. The court also ordered Salander to hire security guards to enforce the order. According to Slotnick, who visited the gallery last night, Salander-O’Reilly’s basement holds 619 Renaissance paintings.

Other prominent litigants have been lining up since late spring. According to reports, Salander is being sued by artist and former New York Observer publisher Arthur Carter for nonpayment, and by former tennis star John McEnroe for failing to double a $162,500 investment in five months. Aby Rosen, Salander’s landlord at the Forstman Mansion, is seeking back payment of the $183,000 monthly rent. Salander’s landlord at the gallery’s former space on 79th Street and Madison Avenue, Elaine Rosenberg, is suing for back rent and for the unpaid share of a painting in which she had invested.

Stuart Pivar, who sat on the sidewalk in front of the gallery yesterday in his 16th century carved walnut French wedding chair that he had just removed from the building, waited for transport across town. "I think I’m the only person who’s not suing him," he smirked.

In 31 years of operation, Salander has built critical respect and a strong clientele with sales of American modernists and Renaissance painting and sculpture. The dealer often spoke of introducing potential collectors on Wall Street to fields of art that were an alternative to the fashionable and often more expensive contemporary market.

Salander expected the "postponed" exhibitions to vindicate his approach. Paying his creditors would have been another thing. Skeptics among museum curators and dealers noted that the Apollo had sold at Sotheby’s in 1991 for $110,000 as a work from the "circle of Caravaggio," and questioned the reattribution. The painting is still for sale.

Salander had already announced that he plans to vacate the Forstman Mansion at the end of the year.

LIDKE SENTENCED IN SEATTLE
Meanwhile, across the country, former Seattle art dealer Kurt Lidtke -- who owned an eponymous gallery in the city’s Pioneer Square district, and was known as one of the country’s foremost experts in Abstract Expressionist Mark Tobey -- was sentenced to 40 months in prison after being found guilty on 19 counts of first-degree theft and one count of failing to pay taxes. The convictions grew out of a complex web of double-dealings Lidtke engaged in between 1999 to 2004, wherein the dealer accepted paintings on consignment, then traded or sold them without compensating their owners, ultimately scamming in excess of $400,000. Lindke’s defense held that his behavior was explained by alcohol and cough syrup addictions, a claim given some credence by the bizarre nature of some of his dealings -- in one instance, Lidtke actually donated Tobey’s Portrait of Richard Odlin to Seattle’s Cornish College of the Arts, even though the painting had been consigned him to sell by Texas art collector James Clark.

Teresa Tío y su legado: Hallazgos Arquelogicos en Paseo Caribe


Weegee, "The Critic" (1943)


Más hallazgos arqueológicos en Paseo Caribe
jueves, 11 de octubre de 2007
Francisco Rodríguez-Burns / Primera Hora


Nuevos hallazgos arqueológicos en el complejo turístico-residencial de Paseo Caribe.

El socio gestor del controvertible proyecto que se desarrolla en Puerta de Tierra, aledaño al Caribe Hilton y el fortín San Jerónimo del Boquerón, confirmó la existencia de piezas arqueológicas que fueron halladas durante los pasados días en las inmediaciones de un antiguo acueducto, ubicado a pasos de los edificios residenciales, comerciales y turísticos que componen la multimillonaria obra.

La confirmación por parte del empresario Arturo Madero antecede la visita programada para hoy de técnicos de la división de arqueología en los predios de Paseo Caribe que intentarán determinar la importancia histórica de las piezas. La agencia, asimismo, podría tomar medidas para asegurar su protección.

Algunas versiones, aún sin confirmar, apuntan a que las piezas son pedazos de antiguos cañones de la época colonial. Madero, al ser contactado a su teléfono personal, refirió todas las preguntas relacionadas con los nuevos hallazgos a Jesús Vega, el arqueólogo que había contratado para realizar un complejo estudio arqueológico de los terrenos que actualmente son ocupados por la obra y que se utilizaron para el otorgamiento de un endoso por parte del Consejo de Arqueología del Instituto de Cultura Puertorriqueña (ICP). No obstante, el perito del contratista no pudo ser localizado ayer por la tarde por PRIMERA HORA.

La visita por parte de los funcionarios del ICP al proyecto se debe a una petición de la comisión senatorial de Asuntos Federales y del Consumidor, presidida por el senador Orlando Parga, que a finales de este mes rendirá el último de una serie de informes sobre una investigación en torno al acceso público del fortín San Jerónimo y los permisos que las agencias fiscalizadoras otorgaron a la obra.

Según las versiones obtenidas por la comisión, los nuevos artefactos fueron encontrados en un área donde se están colocando pilotes para la construcción de otra estructura pero esto fue negado por Madero, quien aseguró que los hallazgos se registraron “fuera del proyecto”.

La relevancia arqueológica de los predios de Paseo Caribe han sido objeto de controversia por versiones dispares ofrecidas por Vega y la presidenta de la Asociación de Arqueología de Puerto Rico, Virginia Rivera, la primera experta contrada por Madero para llevar a cabo los estudios de los terrenos.

Tan reciente como el martes, murió un obrero de Paseo Caribe al caer del quinto piso de una de sus estructuras.

Miyuca y el MAC : Yo, Hardcore?




"its 17-year nightmare under the reign of Thomas Krens. This self-styled shah of culture and franchising has been described as "cold, distracted and rarely on hand." I would add reckless, destructive, myopic and misguided."

*y despues dicen que yo soy fuerte, bah...estos son los jugadores de grandes ligas...

HOW TO REBUILD
THE GUGGENHEIM
by Jerry Saltz


On the last day of July, the art world awoke to a disturbance in the Force. The New York Times announced that Lisa Dennison, the director of the Guggenheim Museum since only 2005, would be leaving to become executive vice-president for Sotheby’s North America. Dennison wasn’t the best director around; she may have been only a puppet. But she was capably playing the role of Gerald Ford to this troubled institution, helping to bring the Guggenheim back from its 17-year nightmare under the reign of Thomas Krens. This self-styled shah of culture and franchising has been described as "cold, distracted and rarely on hand." I would add reckless, destructive, myopic and misguided.

Since Krens took over in 1988, the air around art at the Guggenheim has been distorted and toxic. Yet since he left his directorship in 2005 to run the Guggenheim Foundation, which oversees all five museums (New York, Venice, Berlin, Bilbao, Las Vegas), the institution has shown auspicious signs of actually putting his tenure behind it. Under Dennison, the specialized but scintillating collection of early-20th-century art was intelligently reinstalled so that batches of excellent women and lesser-known artists are featured alongside the big guns. Very good contemporary exhibitions have taken place, most recently this summer’s smart show of recent acquisitions and art from the permanent collection. Curated by Kevin Lotery, Ted Mann and Nat Trotman (under the supervision of Nancy Spector), this sampler was loaded with serendipitous juxtapositions, and showed the Guggenheim shunning spectacle and stressing art again. The soon-to-open Richard Prince survey could be really good, and this winter’s Cai Guo-Qiang retrospective, as well as other exhibitions in the works, are all good signs.

But something rotten is brewing. Krens has been up to his corrosive old tricks again. With breathtakingly bad timing last year, just days before Israel and Lebanon exploded into war, Krens announced that the Guggenheim would build a 300,000-square-foot edifice designed by architect Frank Gehry, on a spit of land called Saadiyat -- Arabic for "Isle of Happiness" -- in Abu Dhabi, the capital of the United Arab Emirates. The Emirates also has plans to build a branch of the Louvre designed by Jean Nouvel, a maritime museum by Tadao Ando, and a performing-arts center by Zaha Hadid. The Guggenheim Abu Dhabi, dubbed "GuggAbu" last year by arts blogger Tyler Green, will sit atop a slender peninsula jutting into the Persian Gulf. The building is to be completed by 2011 at a cost estimated to be between $200 million and $400 million. Slated for construction nearby are dozens of luxury hotels, three marinas, two golf courses, high-end apartments and fancy villas. Crown Prince Sheikh Mohammed bin Zayed al-Nahyan says this $27 billion Sodom-plus-Vegas on the Persian Gulf is expected to draw three million tourists a year by 2015 and will be an "upscale cultural district."

At the time of the GuggAbu announcement, Gehry hadn’t even begun designing. Calling the building "a rush job," he opined, "It’s got to be something that will make sense here," adding, "I know it’s hot. Being situated on the seafront means we might have sandstorms." He should have added that being situated on this seafront also means it’s possible the whole peninsula will be under water in a hundred years. Perhaps those watching it go under will think that’s where this air-conditioned Xanadu belongs.

Krens notes that the UAE "has the resources" to build this project. He’s certainly right there. Abu Dhabi harbors nine percent of the world’s known oil reserves and four percent of its gas. However, it also harbors something else: a stringent anti-Israel policy. Numerous government sites warn that Israeli passport holders and travelers whose passports bear Israeli stamps will be denied entry visas to the Emirates. Thus, the Guggenheim -- founded by a Jewish family, an institution with Jewish curators and scores of works by Jewish artists, designed by the Jewish Gehry -- isn’t really welcome either. (Nor are other marginalized groups: Two years ago, a UAE government official said, "Our society does not accept queer behavior either in word or action." Maybe that means art by queers won’t be welcome in the GuggAbu.) As of July 2006, it was reported that no nudes were to be shown, nor anything deemed "controversial."

None of this fazes Krens. "This is a minor issue," he said last year. "Our challenge now is to define the next generation of Guggenheim museums." Actually, the word next is misleading because there was no earlier generation. Most of those either went belly-up or never materialized, in places like Taiwan, Rio de Janeiro, Singapore and St. Petersburg. The failed plan for Rio called for a tropical rainforest, a 100-foot waterfall, suspension bridges, and a sunken lobby with underwater views of a reflecting pool. Perhaps he’ll announce a Guggenheim Machu Picchu next, or a Guggenheim Great Wall.

The big success on which all this bluster is based is, of course, the Guggenheim Bilbao. That building does work, but only economically, as a tourist attraction, as a source of civic pride and a leverage tool for Krens. It looks like a shiny, undulating amusement-park ride from the outside. It’s great. The inside, however, is so oversize and jazzy that it is awful for art (except that of the artist who inspired much of Gehry’s thinking, Richard Serra). Krens and Gehry, great as they are as a team, should not build museums together -- not in Abu Dhabi, not anywhere. They should be given the contract to build every Wal-Mart in America. That would change the way American architecture looks and the way Americans look at architecture. Krens and Gehry would be heroes. America would be lucky.

In the late ‘80s, when he took over, Krens did some good. He brought the Guggenheim into the present after it had drifted for years. He sold some of the collection but was behind numerous important acquisitions, including the great Panza collection. Then he saw something before others. He understood that culture was going to be big business and that institutions like his could be franchised. He dreamed of shining museums on hills, and tried to build them. That was the beginning of the end.

Krens broke faith with art long ago. Now he crows about meeting with "business moguls, governors [and] mayors," and boasts, "In the last three years, more than 130 cities have made an initial inquiry into doing something like Bilbao." His traveling lecture is called "Developing the Guggenheim into a Global Brand." But under Krens the Guggenheim brand has been not art or exhibitions or even the collection but Building Buildings. And even that was a lie -- they were all Coming Soon, and in reality every one was Coming Soon But Never Comes.

Though I love the Guggenheim’s Frank Lloyd Wright mother ship on Fifth Avenue, one thing this museum has needed for years has been more wide-open, non-spiraling space in New York. Krens did open a SoHo branch in 1992, but it folded in 2001. (In a nice bit of symbolism, the building now holds a slick Prada store.) He also tried to have Gehry build a behemoth near the South Street Seaport, but that never worked out either. Then he switched back to his international aspirations. Thus, Krens’s world adventures aren’t just silly, sad, misspent and maddening; they’re tragic. Imagine if, instead of squandering the Guggenheim’s good name, and rather than pouring time and money into showy boondoggles around the globe, Krens had secured a large space somewhere in New York City, and created something like what the Tate did in London -- a sort of Guggenheim Modern for rotating shows and space for the permanent collection.

In his heyday, Krens was the one American museum director with the hubris, clout and drive to pull something like this off. His dictatorial power accomplished some good things, but at far too high a price. By now his so-called vision can be seen for what it is: a ruse masquerading as a wow. The only thing Krens did was mix Museum Mile with Broadway. Dreaming of blockbusters, he created palaces and high-concept productions dependent on one-time, out-of-town visitors. Krens accessorized the museum’s shell, but he neglected and betrayed art. The Guggenheim Abu Dhabi is just more of the same but on a grander scale. Krens ushered in the ill-begotten era of constructing glitzy trophy museums and then simply filling them with art. He and the ideology came in with Reagan; they should go out with Bush. It is time for the trustees and excellent curators of the beloved Guggenheim to complete the process they seemed to be initiating so admirably before Dennison’s ill-timed and egregious abdication, and together take back the rotunda and get rid of Krens.

WHO SHOULD GET THE JOB
Hiring a new director for the Guggenheim will be tricky. It will be extremely difficult for any candidate to unequivocally say, "Krens must go," if only because he’ll have a major hand in the hiring. Nonetheless, an independent-minded director is a necessity if the museum is to recover. The last director of the Guggenheim was a woman, and the next one should be, too. Four candidates come immediately to mind: the chief curator and associate director for programs at the Whitney Museum, Donna De Salvo; the current director of UCLA’s Hammer Museum, Ann Philbin; the departing director of the Walker Art Center in Minneapolis, Kathy Halbreich; and the Studio Museum in Harlem’s Thelma Golden.

Whoever takes the job must not do so without a number of ironclad agreements in place. Assuming the director can’t fire Krens outright (presumably only the board can do that), she must stipulate that she has control over appointing and releasing all board members and employees. She has to sign off on all activities and exhibitions in all present and future Guggenheims, constructing a legal firewall between Krens and the Guggenheim. He should not be allowed to take one dime of Guggenheim money for any project, and she should try to get out of the Abu Dhabi project. Krens must have no role beyond an advisory one -- and without payment, from either the museum or its trustees or other backers. If this new director can defang Krens, then -- and only then -- might there be a bright future at the Guggenheim.

JERRY SALTZ is senior art critic for New York Magazine.

Tristan Reyes se lleva premio



Felicitamos a Tristan Reyes por ganar este premio en metálico del MOLAA


MOLAA AWARDS $50,000

The Museum of Latin American Art in Long Beach, Ca., has awarded $50,000 in prize money to seven Latin-American artists for the purchase of their works. The winners are Mario Opazo ($25,000), Veronica Riedel ($10,000), Tristan Reyes Alvarado ($6,000), Julio Cesar Peña ($4,000), Tatiana Parcero ($4,000), Ricardo Benaim ($1,000) and Oliver Krisch ($1,000).