The Moon Is the First TV

Art Basel approaches. Plus: "I think they should serve at least red wine."

Hubshman's unsentimental attitude toward the business of art extends to plans to make the Scope environment particularly cushy, even amusing, for heavy wallets.

"We want to knock down the jaded collector monumentality, where the mentality is of dealers wearily pushing metaphorical shopping carts from show to show," Hubshman says. "So we'll be setting up, as its own installation, the 'pay window' where dealers cash out. The design is based on those off-track betting parlors that are so popular in New York. There are going to be trophies and ribbons all around the 'cashiers,' who will be seated on tall pedestals, so the dealers have to 'pay up.'"

After admiring some paintings by Kehinde Wiley in a magazine, the hound decided it was time to take in another type of art patron attraction, this one way south, at Miami Art Central's "Art That Moves the Spirit" reception in South Miami, on Red Road adjacent to the University of Miami.

Alexis Hubshman has a calculated yet very engaging approach to art dealership
The Bitch
Alexis Hubshman has a calculated yet very engaging approach to art dealership


(MAC is also taking an unusual approach to Basel this year. In addition to being geographically well out of the fray, it plans to continue running the present exhibit, "Video: An Art, A History 1965-2005," through the December 10 conclusion of the fair week.)

"Art That Moves the Spirit" was MAC founder Ella Fontanals-Cisneros's way of nodding to corporate sponsor Porsche. Indeed the firm's CEO, Peter Schwarzenbauer, was on hand to accept the toast on MAC's sportscar-decked roof, with extremely potent ten-ounce cocktails, sushi, and way too much foie gras. Yet this wasn't the frightening mingling of booze and priceless works that often happens at such events; the partying was confined to the outdoors, and the exhibit on loan from the Centre Pompidou was appropriately hushed and darkened.

The Bitch was transfixed by Pierre Huyghe's video installation, The Third Memory, which juxtaposes scenes from Sidney Lumet's 1973 film Dog Day Afternoon — one of the most notable heist flicks of all time — with a reenactment of the robbery conducted by John S. Wojtowicz, the actual sex-change-seeking bank robber immortalized by Al Pacino in the movie.

The Bitch asked Renata Alana, a blond physician's assistant in an updo and a black ball gown who was viewing Third Memory at the same time, how she interpreted the piece. "I think the bank robber remembers better the movie about his actions than he does his actions themselves," Alana offered.

Paul Scott, a Porsche rep who was also on hand, observed, "I think they should serve at least red wine in the gallery."

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