With all the extra time on our hands during the slow months, we can finally check out a few works everybody’s been talking about. The legendary Sarah Sze-Venice Biennale Pavillion comes to the Bronx; a Ryan McNamara performance comes to the High Line; and Internet artists come to Spectacle Theater.
This week, public art goes to Fire Island, intellectuals go to Dominique Lévy, and painters will flock uptown for a Keith Mayerson-Peter Saul combo. Lecturers talk about GIFs, and a net art show is inspired by Yahoo! finance. A group show mimics organic “farm-to-table” trends, and a new cult classic is born at Light Industry (starring Liz Taylor).
This week offers plenty of ways to stay cool with art. This primarily means heading in doors. Bunny Rogers reads poetry from her highly anticipated book “Cunny Poems, Vol. 1,” Hito Steyerl offers advice on how to remain invisible in the digital age, and the Knockdown Center is host to a day of surreal performance art. Also, lots of air-conditioned screenings. Welcome to summer.
A chartreuse sculpture of Vladimir Lenin Urinating because why not
Another performing arts center, the Incubator Arts Project, closes shop in New York with a lukewarm review of its final performance, “Nomads”. Oh, well. [Village Voice]
The “Fountain of the Future,” erected in Krakow and commissioned by Polish officials is actually a fluorescent chartreuse sculpture of Vladimir Lenin urinating. [The Independent]
Class division was always a part of New York life, according to these illustrations of the 19th century “Carriage Parade”, which is described as “a foreshadowing of our current celebrity-obsessed culture”. This is a great find for New York history nerds. [Ephemeral New York, Via @wagnerblog]
The Whitney’s Instagramming sneak peaks of Jeff Koons sculptures still in their wrappers. It appears there will be gold. [Instagram]
A fiery debate over a bland-sounding but relevant headline, “Why connoisseurship matters.” Art dealer Bendor Grosvenor thinks connoisseurship is finally starting to matter again because “The pendulum is at last swinging away from the “authorship doesn’t matter” brigade.” Tate curator Martin Myrone casts doubts over the a rebranded “new connoisseurship” because connoisseurship has always been part of the job. This sounds a little like the New Aesthetic, which identified hot new trends by faulty theory. [Arthistorynews]
The Paris art school ENSBA’s out of touch and commercially driven director, Nicolas Bourriaud, is apparently renting out student space for his private events with Ralph Lauren, leaving the student’s without access to their studios for days. [Artnet News]
Joan Mitchell’s work is on view at Cheim & Read and Lennon, Weinberg. For an excellent discussion of these paintings formal qualities check out Thomas Micchelli’s review. “There is nothing ingratiating about these paintings. Chrome green is one of the drabbest colors in the palette, and it is unpleasant to work with — sticky and invasive. Mitchell pushes its dourness further by darkening it with black, which erupts in smears across the surface.” [Hyperallergic]
In another attempt to make art museums more and more like Disney World, there’s a fake crime scene around a missing painting at the Springfield Art Museum. Has the painting been stolen, or has it come to life!? The Art Hunters, or a fictitious duo of crime solvers not unlike an art-themed Scooby-Doo, have been called on the case. Oh it’s also an online reality show. [ARGNet]