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Anthony James at his Varick Street studio with his untitled sculpture of a crashed Ferrari from 200
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by Charlie Finch

Natalie Portman smiled. She was one of 100 Museum of Modern Art Junior Associates enjoying cocktails at Anthony James’ dingy, cavernous Varick Street studio last month, where the toilet is rusty and there is little light, all the better to see James’ new presold pieces, a white neon Jesus and a destroyed Ferrari which seems to extend forever, on all sides, in a mirrored vitrine.