“It’s really a gay program, is what it is.” Art advisor Thea Westrich gives some surprising descriptions of galleries she likes at ABMB, like Matthew Marks. [T Magazine]
A good samaritan has offered the Detroit Institute of Arts $5 million to protect the museum’s collection. This is nothing to help cover the city’s $18 billion in municipal debt. [AP]
Christie’s just released the monetary evaluation of DIA’s collection; its “fair-market value” falls between $452 million and $866 million. $450 million is the amount of aid the U.S. sent to Egypt in 2012, the settlement amount of Mel Gibson’s divorce, and the upfront cost of getting a gold mine up and running. [Detroit Free Press]
Here’s a Christmas tiding to warm the heart: unemployment is down to 7 percent !!!!!!!!!!!!!! If that’s an accurate number, then it means we’re on our way to economic stability. Felix Salmon gives a tentative thumbs up. [Reuters]
Expensive paintings don’t make for better paintings; but it is good to know that collectors can sometimes feel okay about buying work by female artists. A large painting by the late Joan Mitchell reached a hammer price of 3.1 million Euro at the Sotheby’s Contemporary Sale in Paris. [Baer Faxt]
It is not okay for a female CEO to call her underlings employees “Penis.” Not even “Mr. Penis,” mind you—just “Penis” for a first name. How rude. [Daily News]
Our Color Wheel series is relevant as ever. Pantone has announced its “color of the year.” It’s purple. [Paris Review]
Noah Gallagher from Oasis sounds like an idiot and an asshole. In an interview with Rolling Stone he whines about prettymuch everything and slams Arcade Fire for coming out with a double album he’s never heard. “Who has the fucking time, in 2013, to sit through 45 minutes of a single album? How arrogant are these people to think that you’ve got an hour and a half to listen to a fucking record?” What’s the point of anything? Why bother making music, or art, or literature? [Rolling Stone]
Happy Thanksgiving, readers! Art events will be on the lighter side this week, but we’ve still got plenty of good holiday offerings: among them, a big Lower East Side group show (with substance), the net art event of the year at Postmasters, and a Thanksgiving slasher film in Brooklyn.
For those of you who didn’t get tickets to Performa, we’ve got more local alternatives. We’ll have a day of humor and sleaze for Mike Kelley; a show for cyberpunk kids; and a handful of events involving important TV artists. Group Material co-founder Julie Ault will show us the meaning of collaboration, and at the Kitchen’s benefit, we’ll show the meaning of giving. And Clifford Owens is doing that performance again where he does whatever the audience tells him to, so watch out for him.
Good news for those of you who couldn’t get tickets to Performa’s blockbusters! There are still free and open Performa events (a 24-hour group performance, a screening by the Gay Cable Network archive) and non-Performa exhibitions of puppets, comics, animation, and a queer experimental film festival.
Save Cooper Union! A large group of Cooper students and three faculty members have taken over President Jamshed Bharucha’s office, in the hopes of forcing his resignation. They report to Gothamist that they’re willing to stay as long as necessary. While Bharucha inherited massive debt, some off-the-record reports make it sound an awful lot like he’s got blood on his hands. You can follow Free Cooper Union on twitter, livestream, and facebook.
Save the library! Mira Schor reported from a small, poorly-attended protest yesterday to save the New York Public Library, and from the sounds of it, it’s not going well. The Central Library Plan involves demolishing the historic stacks and shipping 1.5 million books to a storage space in New Jersey. [A Year of Positive Thinking]
Speaking of student debt, Occupy presents Debt Fair: artist DIY booths throughout the city, with checks payable to the artist’s bank. [debtfair]
It’s official: come fall, Postmasters will open in its new home at 54 Franklin Street in Tribeca, a 4,500-square-foot ground floor space with Corinthian columns and sofas. [Postmasters]
Running for mayor seems like a game of who can apologize the most. In a public forum held this week, New York mayoral candidate Joe Lhota apologized for waging war with the Brooklyn Museum in the 1990s. While deputy mayor to Rudy Giuliani, the city pulled the museum’s funding; in turn, the museum sued. Lhota then went on to put his foot in his mouth during the same conference, referring to the Port Authority police force as “mall cops”. [New York Daily News]
There’s some secret art to be found at Chelsea’s Waterside Park Playground. From 4-8 PM on Friday, the park will be home to Jasper Spicero’s “Open Shape”, an undercover exhibition of 3-D printed objects. Here’s what “Open Shape” looked like in Wichita, Kansas. [Jasper Spicero]
The Guggenheim’s “Gutai: Splendid Playground” closed yesterday, but Ben Davis summed up the entire exhibition quite nicely. Gutai fizzled out in the early 1970s due to a split among factions: those who didn’t mind making tech-inspired work for government-sponsored exhibitions, and those who thought that conflicted with their progressive ideals. Today, Davis writes, Western artists are only beginning to understand Gutai’s lesson: “the price paid when critical art becomes repurposed as high-tech entertainment.” [ARTINFO]
Postmodernism is having the best day ever. It’s been just over a year since a New York District court dealt a major blow to Richard Prince, finding his Canal Zone series guilty of violating the copyright in Panamanian landscape photographs and Rastafarian portraits by Patrick Cariou. Not only was Prince found guilty, but the court ordered all unsold Canal Zone artworks and catalogs sent to Cariou so that they could be destroyed, sold, or disposed of as he saw fit. Thankfully, today sees a win for art: the case’s defendants won an appeal with the United States Court of Appeals for the Second Circuit.