{"content":[{"text":".","bbox":{"left":0.071429,"top":0.056114,"width":0.005398,"height":0.015555}},{"text":"“Alice in Wonderland, Donatella Versace and Rupert Everett with \n Natalia, Paris” by Annie Leibovitz, 2003. 20 x 24 inches.","bbox":{"left":0.195101,"top":0.126046,"width":0.609745,"height":0.03559899999999999}},{"text":".","bbox":{"left":0.071429,"top":0.185733,"width":0.005398,"height":0.015555000000000013}},{"text":"But the standouts in this show for me are clearly the many self-portraits wherein the artists are \n positioned in the forefront instead of having their world view lurking behind someone else as the \n subject. This genre carries the show, for me, and makes it something greater than a random \n collection of head shots and copied newspaper photos.","bbox":{"left":0.071429,"top":0.21914,"width":0.857092,"height":0.075687}},{"text":"There is evidence in this show, once again, that it’s the Summer of Jeﬀ, with artist Jeﬀ Koons \n seemingly everywhere: a ﬁve-ﬂoor show at the Whitney, a massive topiary at Rockefeller Center, \n and appearances on the Charlie Rose and Stephen Colbert shows. His oleaginous sales pitch \n promoting the empty is featured in nearly every media outlet in America. In the “Close-Up” show, \n an early self-portrait when he was a youthful 34 shows him posing with live pigs. It’s nearly too \n perfect for words.","bbox":{"left":0.071429,"top":0.312679,"width":0.857123,"height":0.11577599999999999}},{"text":".","bbox":{"left":0.071429,"top":0.446307,"width":0.005398,"height":0.015554999999999986}},{"text":"Jeﬀ Koons Magazine ad, 1988.","bbox":{"left":0.311643,"top":0.516239,"width":0.256807,"height":0.015554999999999986}},{"text":".","bbox":{"left":0.071429,"top":0.555882,"width":0.005398,"height":0.015554999999999986}},{"text":"Artist Ike Ude is uniquely photogenic and has posed for extraordinary photos throughout his career, \n mixing fashion and ﬁne art. Here he mixes styles and props from around the globe in his self- \n portrait, Sartorial Anarchy #6, a pigment print. It’s less brooding than much of his work and the \n summer outﬁt goes well in this season.","bbox":{"left":0.071429,"top":0.589289,"width":0.8572050000000001,"height":0.07568800000000009}},{"text":".","bbox":{"left":0.071429,"top":0.682829,"width":0.005398,"height":0.015554999999999986}},{"text":"“Sartorial Anarchy #6” by Ike Ude, 2013. Pigment on \n satin paper, 54 x 36.1 inches. Edition of 3, 3 AP.","bbox":{"left":0.260617,"top":0.75276,"width":0.47874700000000003,"height":0.035599999999999965}},{"text":".","bbox":{"left":0.071429,"top":0.812448,"width":0.005398,"height":0.015554999999999986}},{"text":"Marina Abramovic moved up the ladder recently with a retrospective at MoMA that featured a \n Brooklyn staring contest entitled The Artist Is Present, wherein passersby were invited to sit across \n from her and, well, stare at her. The piece had a creepy narcissist new age smell to it, but reviewers \n gave her the beneﬁt of the doubt as much of her work is considered important.","bbox":{"left":0.071429,"top":0.845855,"width":0.8571270000000001,"height":0.07568699999999995}}],"images_bbox":[{"left":0.207701,"top":0.105096,"width":0.017639,"height":0.014254},{"left":0.324242,"top":0.495289,"width":0.017639,"height":0.014254},{"left":0.273216,"top":0.731811,"width":0.017639,"height":0.014254}],"images_bbox_not_text_overlap":[{"left":0.207701,"top":0.105096,"width":0.017639,"height":0.014254},{"left":0.324242,"top":0.495289,"width":0.017639,"height":0.014254},{"left":0.273216,"top":0.731811,"width":0.017639,"height":0.014254}]}