CATTELAN'S THRONE HAS A NEW PALACE

I'm feeling a little defeated. Chagrined. Disappointed and surprised. Maurizio Cattelan. I hold him in such high regard. He's an artist with a swagger. Worthy of our greatest attention.

Second to the duct-tape banana and the Pope and the meteor, his 18-karat, floor-mounted, flush-valve (tankless) toilet is one of the art world's fondest memories.

Last week, in a Sotheby's auction show stopper, the winner was a shocker. And herein lies the lesson.

In my high-minded good taste, I wanted the artist's "America" (2016) to become the adored centerpiece in the annual gala for one of our greatest art institutions. But then I thought, why should only the rich get to take selfies on the golden throne? They get to do that in the new East Wing.

Take it from Mamdani, "America" belongs to the people. Believe it or not, Ripley's bought it. For $12.1.

I hope they tour the relic around the world. Lines around the block, bigger than an Arles sunflower or a King Tut mummy show. The Cattelan name will be whispered by the rich and the poor. Contemporary fine art might find a new audience, which it so desperately needs.

We're rooting for you Maurizio.

Art Report Today .com

THE LAST KNIGHT

One-upmanship is a very human tendency. It's not exclusive to the art writing industry. I caught a scoop early and texted the news to a fellow arts writer. "Chris Knight retires." I knew I had scooped her with a good one. My facade remained indifferent, but inside I was giddy.

Christopher Knight, the Pulitzer Prize winning art critic, has retired. When he started at the LA Times in 1989, the big city newspaper landed on your front porch with a heavy thud. Today, there's not enough of a daily edition to litter a birdcage.

Young Knight could have gone down the arts academia path. He did not, and missed out on the tenure racket. I hope he never took Los Angeles Times stock as a bonus. Knight is a true journo. He walks away with a fantastic CV, a Mather and a Rabkin Award, and a solid bibliography.

Christopher Knight is a trooper. Until the bitter end. He marched until his job title became irrelevant.

This art criticism beat is no walk in a museum sculpture garden. It's tough. On the polite side of bare-knuckle. Lethal. You will be loved. And intensely hated. For your beliefs.

Art Report Today .com

THIS WEEK IN THE ARTS

I've always thought the 'Made in LA' show at the Hammer needed a companion show 'Maid in LA.'

During this Thanksgiving week, I am thankful I got to chat with the artist Reverend Ethan Acres. We haven't crossed paths in a coon's age. He is the same humble, sweet guy.

The timbre, pace and accented lilt of his voice calms and reassures over a glitchy cell phone. The artist is a healer. Teaching in Texas. I hope we'll be hearing more from the Rev. We need you now more than ever.

Over the last year, Chicken Little has been squawking scared about an apocalyptic somersault in the power structure of the art world. Becoming hard to tune it out. Now I'm starting to believe it.

Think of the poor Sperone Westwater artists, now shuffling gallery-to-gallery looking for representation. Ditto. Ditto. Ditto. The gallery closures are creating a mass, and class, migration.

I have great faith in the fine arts economy. It's clever, quick to adapt and it survives. It rides out any recession, political upheaval and even the law. I have long felt mainstream economic academia should study the Arts for a few pointers.

Rest easy, silly Chicken Little, the sky is not falling. Just as the sun will rise in the East, the power elite will maintain the high road and the status quo.

Art Report Today .com