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Wednesday Links: Artworld Overtaken By Dickheads, Mexicans Dodge MFA Debt

by Paddy Johnson Michael Anthony Farley Rea McNamara on January 27, 2016

The Knoedler forgery trial kicked off this week, and the plaintiffs introduced their first witnesses yesterday, among them curator John Elderfield. The trial will determine whether or not Knoedler’s former president Ann Freedman knowingly sold a Rothko fake to collectors Domenico and Eleanore De Sole. The trial, of course, follows one of the art world’s biggest scandals, when the 165 year old Knoedler abruptly closed in 2011, and it soon emerged they had been selling fakes for the past 15 years. Elderfield testified about two fake Diebenkorns, following the defence’s opening argument about the “highly dysfunctional” AbEx generation of painters and their so-called questionable record keeping of business transactions. [Art News]
Evan Hughes, the son of Sydney gallerist/collector Ray Hughes on closing the gallery to pursue philanthropy and politics: “it was almost as if we were given permission to declare that the art world had been taken over by dickheads. Too much of the commercial art trade has become about the selling of product and the accumulation of capital,” and on his conservative political rival’s commissioned portrait: “Unhappy with the work, Turnbull confronted my father at a function and exclaimed: ‘That artist of yours is no good; he’s made me look like a big, fat, greedy cunt’, to which my father replied, ‘He is a realist painter, you know’.” [The Art Newspaper]
Meet Puppies Puppies, your new favourite artist to check out at the upcoming Material Art Fair in Mexico City. The artist is redefining readymades by sourcing materials ranging from Lord of the Rings and Harry Potter fanart to eBay and Etsy “mall kiosk kitsch”, and speaks in the first and third-person. (At NADA New York last year, the artist presented a dead monster surrounded by leeches at Courtney Blades.) [Artspace]
Here’s another must-see in Mexico City. Last week we debated the merits of getting an MFA. In Mexico, there’s an accredited non-profit art school, SOMA, churning out work that looks great. We can’t wait to see their thesis show. [Hyperallergic]
This interview with Ricardo Dominguez, a former Critical Art Ensemble member and professor at UCSD, is fascinating. Who knew early net artists and the Zapatistas ran in the same (digital) circles? [Rhizome]
“I suspect you have always been a racist but never had to admit it because you were hitherto surrounded mainly by people of your own ethnic group. Fortunately, for you and our troubled society, you’re now fully aware of your racism and you want to address it.” An “urban etiquette” advice column from Calgary addresses the age-old “I’ve never been a racist before, but I am now and I need help” question. [Metro News]
The Art Institute of Chicago has received $35 million, the biggest cash bequest in its history. The money will go towards helping the institute acquire new Asian art, and help grow its prints and drawings holdings. [Artforum]
The different approaches to “reserving” dug-out parking spots in Washington, DC and Philadelphia perfectly illustrate the difference in pathos and ethos between the two cities. [The Blaze]
To protest the UK’s draconian film censorship laws, Charlie Lyne created a two-day long, crowd-funded movie of paint drying. Now, the censors who sit on the board have to watch the whole thing. [Boing Boing]
The Union Arts building in Washington DC, home to numerous art collectives and studios, is facing potential sale, demolition, and redevelopment as a luxury hotel. The artists are asking for support in their resistance to the plan. [Facebook]
The Tate Modern’s new extension will open in June of this year, with a Louise Bourgeois exhibition. The expansion project will increase the museum’s square footage by 60% in an asymmetrical ziggurat designed by Herzog & de Meuron—arguable the only starchitects with a track record of never disappointing. This might just put the new Whitney to shame. [Observer]
New York is finally getting a handful of open-gangway subway cars. They greatly reduce overcrowding by creating room for passengers in the otherwise wasted space between cars and facilitating more efficient distribution of crowds. For some reason, everyone talks about this as if it’s a wild and untested concept. See: Gothamist’s moniker “Poop Trains”. In reality, almost every major city outside the United States uses conjoined trains. If you’ve ever ridden a subway anywhere else in the world, the improvement is obvious. Why are we so behind and oblivious when it comes to public transportation? [Gothamist]
The MoMA expansion has been scaled back with a revised timeline. Nobody liked the art bay so it’s been trashed. (Good riddance.) Now the only way to enter the building is through the main museum. [The New York Times]

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Talking Heads: A Dual Review of the Fairs by Lexie Mountain and SSION

by Lexie Mountian and SSION on May 16, 2015

A dual review of seven pieces currently on view at Frieze, NADA and Select. Ms. Mountain, an artist, writer and comedian, and SSION (also known as Cody Critcheloe) an artist, director, and sometimes musician take on Puppies Puppies, Steven Gagnon, Chloe Wise, Elizabeth Jager, D’Ette Nogle, Kai Schiemenz, Unknown performers, Josh Faught, Genieve Figgis and Peter Coffin.

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The Whitney Biennial: Visual Screen Burn Courtesy of America’s Finest

by Paddy Johnson on March 16, 2017

Out of the ten Whitney Biennials I’ve seen, this is the first one that could have used a vomit warning. But here we are, in Trump’s America, a future many of us never wanted to imagine, let alone live through. What is the purpose of art in this New America? This year’s Biennial bears no answers. Art doesn’t exist to defend its purpose and even if it did this exhibition was organized prior to the election. Nevertheless, it does bring then-simmering themes to a boil. So, while almost none of the work is Trump themed, as a whole the exhibition reads as a responsive to the challenges the country faces—increasing income inequality across the board, failing institutions, and the rise of hate-fueled violence. If art is a mirror, then this year’s Biennial should scare the shit out of you.

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The Armory Show: Where All The Cowboys Have Gone

by Michael Anthony Farley and Molly Rhinestones on March 4, 2016

Long before Richard Prince was screencapping Instagram, he rode an appropriated image of a cowboy to fame. At The Armory Show, it seems other artists are attempting the same. Cowboys are everywhere. We picked out some noteworthy examples, after the jump.

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Material Art Fair: The Most Important Art Event of the Year for Artists

by Paddy Johnson and Michael Anthony Farley on February 5, 2016

For years we’ve sung the praises of NADA, an artist-centric fair that celebrates and works to commodify the strange, the creative and the wonder. In 2015, though, we began to question the model. Was NADA a bit stale compared to recent years? Was ARTIST RUN, a new fair that celebrates the DIY artist, closer to our interests?

These questions came up a lot yesterday at the Material Art Fair in Mexico City, which AFC staff writer Michael Anthony Farley described as a “great compromise between ARTIST RUN and NADA. Farley was referring to the structure of the fair, which invited more dealers than artists to participate, but retained the artistic energy and life essential to new art by keeping the booth prices low. It’s a great fair.

I agree the sentiment, but would put it a little differently: Material tells us that NADA can easily be replicated.

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NADA Disappoints

by Paddy Johnson on May 17, 2015

It’s hard to shit on NADA. It’s free and the art is consistently strong. Every time I visit, I am happy for having seen good art.

This year is no different, but I left feeling a little disappointed, regardless.

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NSFW GIF of the Hump Day: Lorna Mills

by Michael Anthony Farley on June 21, 2016

It’s been almost a year since we started our weekly tradition of posting a “NSFW GIF of the Hump Day“. In all that time, I can’t believe it never occurred to me to reach out to GIF maven Lorna Mills and see what NSFW goodies she has in her expansive GIF collection.

Until today.

And holy shit, how the floodgates have opened. Lorna’s work is like the entire internet compressed into jagged little pills our eyes must swallow. That means there’s a whole lotta porn in there. And puppies! And also dicks fucking a trombone, people masturbating on bicycles, and all manner of creatures fucking every conceivable thing that’s ever been compressed into 256 gloriously dithered colors.

If the GIFs below, after the jump, aren’t enough, check out this webpage—titled She’s Met 50 Men on the Internet. 50 Men. —Lorna composed into a GIF-tastic symphony of depravity. Appropriately, it was created in response to the curatorial query “What is ‘Internet’?”

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That Little Art Thing

by Robrt Pela on July 14, 2015

I am sitting on a cold vinyl bench wearing a backless dress made of paper. My annual physical is winding down and, having drawn my blood and looked in my ears and placed her finger up inside me, my doctor is writing things on a clipboard and making small talk. I’m nodding and smiling and thinking about the pancakes I’m going to eat as soon as I get out of here, when she asks a question that both breaks my breakfast reverie and makes me want to kill myself.

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Material Art Fair: The Most Important Art Event of the Year for Artists

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