Jeffrey Deitch

  • Takashi Murakami, Klein’s Pot A, 1994–97, acrylic on canvas mounted on Masonite, 13 1/2 × 13 1/2".


    Takashi Murakami is not just a leading interpreter of contemporary Japan’s unique collision of popular and traditional culture. His work and his persona are its very embodiment. Murakami brings to his paintings a knowledge of Japanese ukiyo-e wood-block prints and Kabuki theater, as well as an intimate engagement with nihonga painting (a discipline in which he holds a doctorate). Adapting traditional techniques and formats, Murakami fuses historical, political, and topical subject matter to forge singular contemporary canvases, some of the most ambitious of any contemporary

  • Jean-Michel Basquiat, Now’s the Time, 1985, acrylic and oil stick on plywood, 92 1/2 × 92 1/2". © Artists Rights Society (ARS), New York/ADAGP, Paris, Estate of Jean-Michel Basquiat.

    “Jean-Michel Basquiat: Now’s the Time”

    “Now’s the Time” derives its title from the inscription on one of Jean-Michel Basquiat’s boldest paintings, a large, roughly cut plywood disk, depicting a 45 of Charlie Parker’s eponymous bebop composition. This stark painting, which abstains from the expressionist fury associated with the artist, is nevertheless one of his most poignant works. Now is the time for a deeper analysis of Basquiat’s stridently political ouevre, and this thematically curated retrospective of eighty-plus works will address such subjects as racism, power, and social hypocrisy; sampling and

  • Crowd outside Deitch Projects for the opening of Shepard Fairey’s “May Day,” New York, May 1, 2010. Photo: Delphine Ettinger.

    Jeffrey Deitch

    LOOKING BACK AT MY GALLERY during the past fifteen years, I’ve become increasingly aware of how it operated as a private ICA. Most of our programming was not commercial—for instance, the recent Josh Smith show of forty-seven paintings made directly on the wall, which you can’t sell. And, in fact, Deitch Projects was not originally intended to be a gallery. It was inspired by Art & Project in Amsterdam, with the concept being that I would only invite artists who had never shown in New York and who would not just hang new paintings or photographs but instead wanted to create a project for the

  • Fabricator at Carlson & Co. at work on Ellsworth Kelly’s Untitled, 2005. Photo: John H. Baker.


    To chart the expanding parameters of fabrication today, Artforum invited curator Lynne Cooke, artists Angela Bulloch and Charles Ray, and art dealer Jeffrey Deitch to enter into a conversation with three leaders in the field of art production—Peter Carlson, Mike Smith, and Ed Suman—who between them have helped realize some of the most technologically ambitious artworks of our time. Michelle Kuo, whose brief history of fabrication and postwar art appears in this issue, moderated the discussion.

    MICHELLE KUO Fabrication is currently everywhere and the range of its manifestations is dizzying: from calling a local company to order metalwork, a 3-D printout, or an audio mix; to employing a design and fabrication firm that connects artists to different services and skills; to becoming part of a dispersed network of production that also includes dealers, curators, and collectors. “The piece may be fabricated,” as Lawrence Weiner famously proposed in 1968, and artists seem to be taking up this suggestion now more than ever. But to what ends? I wonder how we might begin to define fabrication