{"title":"Jeremy Blake","description":"\u003cp\u003eJeremy Blake (1971–2007) was an American artist whose practice centred on time-based digital paintings — looping sequences of colour, abstraction and imagery that occupied the boundary between painting, film and animation. His works were shown at the Whitney Museum of American Art, the Corcoran Gallery of Art and the Nolan\/Eckman Gallery, New York, and he contributed sequences to Paul Thomas Anderson’s film \u003cem\u003ePunch-Drunk Love\u003c\/em\u003e (2002). Blake received a Rome Prize from the American Academy in Rome in 2000. He died in 2007.\u003c\/p\u003e","products":[{"product_id":"bald-ego-jack-spade-obrien-blagg-2004","title":"BALD EGO NO. 3 \/ JACK SPADE, Glenn O’Brien and Max Blagg, eds., 2004","description":"\u003cp\u003eSoftcover magazine with mixed-media cover: printed paper, acetate and applied real fur. Bald Ego Publishing, distributed by D.A.P., New York. 200 pp., illustrated throughout. ISBN 1-56466-120-2. Original cover price $15.00.\u003c\/p\u003e\u003cp\u003eA particularly strong issue of \u003cem\u003eBald Ego\u003c\/em\u003e in which the magazine effectively gives its own identity away.\u003c\/p\u003e\u003cp\u003eFounded by Glenn O’Brien and Max Blagg, \u003cem\u003eBald Ego\u003c\/em\u003e occupied the unstable territory between art magazine, literary publication, fashion object and downtown New York publishing. For this issue, that instability became the cover itself. The usual \u003cem\u003eBald Ego\u003c\/em\u003e masthead disappears. JACK SPADE takes its place, while \u003cem\u003eBald Ego\u003c\/em\u003e survives only on the spine and in the coverline: “Bald Ego sells out!”\u003c\/p\u003e\u003cp\u003eThe substitution was deliberate, and D.A.P.’s own catalogue copy for the issue confirms the terms of it directly: “Jack Spade transformed the cover into a readymade.” O’Brien later described the mechanics himself — Andy Spade, founder of Jack Spade and husband of Kate Spade, had developed a running practice of placing the Jack Spade name onto businesses he did not own, including a favourite barbershop and a Houston Street bar, describing the activity as a “commercial readymade” and consciously invoking Duchamp. \u003cem\u003eBald Ego\u003c\/em\u003e became another site for the gesture: according to O’Brien, they simply put “Jack Spade” where their own logo normally appeared.\u003c\/p\u003e\u003cp\u003eThe joke is better than a conventional collaboration because it operates directly through authorship and ownership. Jack Spade does not merely advertise in the magazine. For the duration of the cover, the brand becomes the magazine. The publication retains its material identity while its public name is reassigned. The cover makes that exchange physical: a tuft of real fur sits beneath acetate while the Jack Spade name occupies the authoritative masthead position. Brand, magazine, advertisement and artwork begin to collapse into one another.\u003c\/p\u003e\u003cp\u003eThe roster inside makes the gesture land harder. Contributors include Richard Prince, Elizabeth Peyton, John Lurie, Philip Taaffe, Fred Tomaselli, Keith Sonnier, Jack Pierson, Tom Sachs, Charline von Heyl, Don Van Vliet, McDermott \u0026amp; McGough, Gary Indiana, Elias Khoury, James Salter, Sam Matamoros, Santé D’Orazio, Jane Dickson, Jeremy Blake, Stephen Mueller, Gary Simmons, Theresa Duncan, Andrew Kleinzahler, Robert Polito, Valery Oisteanu, Gerard Milanga, Elaine Equi, Laura Letinsky, Davitt Sigerson, Hooman Majd, Barney Kulok, Geoffrey Cruickshank-Hagenbuckle, Dike Blair, James Gilroy, and Ted Barron, whose photo-essay “Brooklyn Smackdown” documents independent lucha libre wrestling in grainy black-and-white.\u003c\/p\u003e\u003cp\u003eRichard Prince’s contribution, “Bomb Dream Enameled,” pairs a text first copyrighted in 1975 with paintings whose surfaces are stencilled with fragments of popular culture and trivia. Derain, Braque, Léger, Duchamp-Villon, Picabia and de Chirico appear alongside references to \u003cem\u003eMad\u003c\/em\u003e, \u003cem\u003ePlayboy\u003c\/em\u003e and \u003cem\u003eInterview\u003c\/em\u003e: art history and mass-media information flattened into the same circulating language. Elizabeth Peyton’s “Heroes” contributes her loose, luminous watercolour portraits of young male subjects.\u003c\/p\u003e\u003cp\u003eA magazine already engaged with image culture, celebrity and appropriation temporarily allows a commercial brand to appropriate the magazine itself — and does so while publishing Richard Prince, whose practice has repeatedly tested precisely these boundaries of attribution, reproduction and ownership.\u003c\/p\u003e\u003cp\u003eThere is an unresolved piece of New York history on the back cover: an advertisement for La Esquina, Comida Tradicional de la Capital, 106 Kenmare Street. The better-known La Esquina is associated with 114 Kenmare Street and a 2005–06 opening, so the relationship between the advertisement here and the later restaurant remains uncertain. It is worth retaining as evidence rather than forcing a conclusion.\u003c\/p\u003e\u003cp\u003eThe object stages a transfer of identity. A commercial brand takes the position normally occupied by an editorial title. \u003cem\u003eBald Ego\u003c\/em\u003e remains materially present — on the spine, inside the magazine, in its editorial structure — but externally it has been renamed. The gesture recalls the readymade without reproducing it literally. Nothing new has to be fabricated. Meaning changes because the existing object is reassigned, relabelled and recirculated. And because Prince appears inside, the structure doubles back on itself: a magazine carrying an artist associated with appropriation has itself been appropriated by a brand whose founder explicitly described his practice through Duchamp.\u003c\/p\u003e\u003cp\u003eMagazine becomes support. Brand becomes author. Advertising becomes cover. Commerce becomes material. O’Brien’s own punchline remains the most economical description of the whole arrangement: “Bald Ego sells out!” Except the sell-out is not outside the work. It is the work.\u003c\/p\u003e\u003cp\u003eCondition: [pending physical inspection — describe the fur-and-acetate cover element specifically: any lifting, shedding, or adhesive show-through, plus general wrapper and page condition]\u003c\/p\u003e","brand":"Bald Ego Publishing","offers":[{"title":"Default Title","offer_id":54543362752850,"sku":"TNR-2026-0640","price":85.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Blagg_Max.O_Brien_Glenn.BaldEgoJackSpade03.2004.jpg?v=1788546608"}],"url":"https:\/\/thenewrare.com\/collections\/jeremy-blake.oembed","provider":"The New Rare","version":"1.0","type":"link"}