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new york art book fair

L.A. Art Diary: The Final Entry

by Michael Anthony Farley on July 31, 2017

In his final L.A. Art Diary post, Michael Anthony Farley explains why he can’t live in Los Angeles, even though it seems like everyone else is these days.

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L.A. Art Diary: Week One

by Michael Anthony Farley on June 28, 2017

Michael Anthony Farley is exploring Los Angeles (sans car) and will be reporting back on the art scene weekly.

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This Week’s Must-See Art Events: Bollywood Musicals, Music for Dogs, Zines at the Pool

by Michael Anthony Farley on May 16, 2017

This might feel like a slow week, but you’ll need to plan wisely. This weekend is packed with big events that span all day or more.

Friday, celebrate NYCxDesign (and Tom Dixon’s first New York showroom) with Dezeen at a block party in SoHo. Then rush to Williamsburg for the opening night of the Brooklyn Art Book Fair. They have programming scheduled all day Saturday too. But you’ll probably want to spend Saturday visiting all the idiosyncratic locales Lenka Clayton and Jon Rubin’s …Circle Through New York intersects. Alternately, head to the other side of the city for open studios in Sunset Park, which run until 6 p.m. on both Saturday and Sunday.

There’s plenty more to do all over town this week, and even an excuse to catch the PATH to Journal Square if you’re local wanderlust can’t be sated by four boroughs of art events.

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We Went to Frieze, Part Two: Pussy Hat Show Flops, Anti-War Hard On Holds Up

by Paddy Johnson and Michael Anthony Farley on May 5, 2017

Yesterday we discussed the overall look and feel of Frieze and concluded that this iteration of the fair is far superior to previous years. Lots of lively inventive work and short on the kind of soulless work in a frame that can make these events so tedious. Today we take a deep dive into a lot of the art we saw. Let’s get down to the nitty gritty.

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Friday Links: Public Art too Scary for Children? Frieze Going Populist?

by Paddy Johnson and Michael Anthony Farley on April 28, 2017

Thomas Houseago

More developments in the saga of the beleaguered Bell Foundry art space in Baltimore. The city shuttered the live/work building last year, evicting residents with no warning, citing safety issues. Now the property is on the market as a knock-down development site for $1 million. Yesterday someone tagged “$HAME 100” on the side of the building, which is already covered in bank-sponsored street art. The article implies that the Baltimore Rock Opera Society (the sole remaining tenants) are somehow responsible for cleaning it up. Isn’t that their slumlord’s job? The Facebook comments on this one are entertaining/infuriating, as to be expected. [City Paper]
The Art Museums of Colonial Williamsburg have broken ground on an expansion project (doesn’t that sentence about Virginia sound like something a Brooklyn poet would write about gentrification?). The expansion, designed by Samuel Anderson Architects, will increase exhibition space by 22%. I think it kinda looks like a McMansion. [ARTFIXdaily]
The NYT profiles American Medium, discussing the niche skill of translating digital works to the white cube, the gallery’s origins, and their move to Chelsea. [The New York Times]
Google is launching a virtual reality “art gallery” where Tilt Brush makers can share their works with one another. Importantly, you won’t need a VR headset to see the 3D objects. This could spark a lot of interest in the technology. [Business Insider]
Boy this is appalling: The city run initiative, “Tenant Interim Lease (TIL) program”, leaves 38 percent of all affordable housing unoccupied due to mismanagement. [Curbed]
Is Frieze going to be a more “populist” fair this year, as this article suggests? Absolutely not. But gallerists are responding to the political crisis with some borderline-gimmicky nods to protest. Cheim & Read, for example, is doing an all-pink booth as a tribute to the sea of “pussy hats” from the Women’s March. And P.P.O.W. gallery will show an Anton van Dalen pidgeon coop that looks like a car burnt in a riot. [Bloomberg]
Advertising agency Ogilvy & Mather has created a font in memory of LGBTQ artist/activist Gilbert Baker, who designed the rainbow flag in 1978. They’ve launched the website Type With Pride, where the font can be downloaded in the hopes it is used in marches and protests. It’s a really pretty font, but I don’t see this being super legible from a distance at a rally. [Dezeen]
A vaguely skeletal public sculpture by Thomas Houseago is scaring some Chicagoans. It mainly seems people think it will spook the children or ruin family photos. We’re all for more scary public art. [ABC 7]

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Friday Links: Bloody Sanitary Pad on G-String Unwelcome at Art Basel Hong Kong

by Paddy Johnson and Michael Anthony Farley on March 24, 2017

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We can’t even keep up with all the Schutz controversy. A fake letter by Schutz saying piece should be taken down was circulated and then debunked. Now there are complaints that Hannah Black, the artist who wrote the letter demanding that the painting be removed and destroyed, isn’t black enough to have signed the protest letter, in which she removed the white signatures after critique, (thanks Facebook). Kara Walker, artist and a former professor of Schutz has weighed in on the controversy over Instagram and says the artwork should be seen. Howard Halle at Time Out shares that view. [The Internet]
This is cute. Gillian Anderson and the Tate Modern have donated a trip to the museum with the actress/activist as a prize in a charity raffle. This is literally my dream friend-crush play date. [Givergy]
Here’s one way to get a consolation prize from gentrification. When Paul Cocksedge was evicted from his long-time London studio to make way for a development, he excavated chunks of the concrete floor to make furniture. [Dezeen]
Artist Corrina Mehiel, 34, has been found murdered in her temporary apartment in Washington, DC. She was living in the capital to work with Mel Chin on his current exhibition at The Corcoran. [The Washington Post]
This is a must-have accessory for electronic music nerds. Avant garde musician Surachai is selling enamel pins with the electrical schematic symbol for “resistance” to raise money for the ACLU. [Bandcamp]
The crowdfunding campaign to build a public sculpture honoring David Bowie has come to an end, way short of its £1 million goal. Honestly, though, London might’ve just dodged a bullet: designs for this never looked good. [Pitchfork]
Here’s an interactive map of the New York City housing lotteries you can enter now for an affordable apartment. [Curbed]
Or if you’re tired of renting, be my (Michael’s) forever neighbor. The Bromo Arts District in Baltimore is offering artists/collectives assistance with applications in response to an RFP for dilapidated buildings. If you’ve ever dreamed of owning your own live/work space, gallery, etc… this is a great opportunity. Those applications are due April 10th. [Bromo Arts District]
Healthcare update: The bill failed to pass after the White House caved to the Freedom Caucus demands to that health care providers not need to support basic services like emergency room care, maternity care, and substance abuse, and “moderate’ GOPs peeled off. Now Trump is threatening the GOP that will be stuck with Obamacare (yay!) if they don’t pass the bill. But isn’t that obvious? [The New York Times]
Art Basel Hong Kong sounds like it was interesting: “Better than that was earlier in the afternoon when a man wearing a purple mask and a G-string attached to a bloodied sanitary pad was encircled by a human lasso of suited security guards and then strong-armed out the door. According to Art Basel’s official statement, the fair takes no responsibility.” [ARTnews]

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Tuesday Links: Good Art, Defined.

by Paddy Johnson and Michael Anthony Farley on February 7, 2017

Sunnyside Yards

BALTIMORE! The Mayor’s Safe Arts Space Taskforce is meeting tonight. It’s so important that advocates for maintaining affordable live/work spaces come to these things. [The Mayor’s Facebook]
Why were so many female artists written out of art history? It’s an unfortunate fact of most museum collections, but the Guerrilla Girls are making a dent in the art-historical glass ceiling. [The Guardian]
Right, on! NADA is donating half of its ticket sales this year to the ACLU. Acronym orgs unite! [artnet News]
Katie Alice Greer, singer of the D.C. punk band Priests and a solo artist under her initials, K.A.G., talks about why all art is political. Lots of great comments in this interview, but this really stands out, “To me, successful art isn’t someone wagging their finger at you or spelling it out on a chalkboard. I mean, maybe it is, if it’s literature or the written word. Successful art you have to unpack, because it’s interrogating you or what your idea of reality is, or what the world means, or is very beautiful or very complicated, very ugly.” [The Creative Independent]
The city wants to build housing over top of Sunnyside Yard, the massive train yard. This would represent a huge new neighborhood in Queens, but the feasibility study, which paints a rosy picture for this new development, doesn’t include any mention of increased transit options or new hospitals. Also New York State governor Andrew Cuomo controls the MTA portion of the yard and the Feds (Trump) control the Amtrak portion. We may not see this plan come together for another a 100 years. [Crain’s New York]
A brief (read, long and comprehensive) history of art collectives in New York City’s Chinatown. [Hyperallergic]
The SPRING/BREAK art fair says good-bye to their old haunt at the post office, and will take over two floors of an office building in Times Square. [ARTnews]

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What Should Anti-Trump Art Shows Achieve?: Petzel Gallery’s “We Need To Talk…”

by Emily Colucci on January 27, 2017

Since Trump’s election, numerous exhibitions have attempted to address the seemingly endless horror of his presidency. But, how should we judge these shows’ efficacy? Is the quality of the included work enough or should viewers demand more practical political action? A visit to Petzel Gallery’s disappointing We Need To Talk… convinced me of the latter.

The exhibition’s proposed exploration of the many fraught issues currently under siege seemed promising. But, with an unwavering devotion to showing big name artists, half-assed attempts at engaging the general public and a convoluted donation strategy (the press release vaguely states, “A percentage of sales will be donated to any organization that seems appropriate to artist and collector.”), We Need To Talk… came out well short of its activist goals. So short, in fact, that the goals of the show itself were put into question.

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Art Is The New Black: An Interview With Tatiana von Fürstenberg On “On The Inside”

by Emily Colucci on November 11, 2016

After Donald Trump’s election, private prison stocks soared. While this small but ominous tidbit might be overshadowed by the glut of other horrifying news pouring in since Tuesday, it makes On The Inside, a group show of incarcerated LGBTQ artists at Abrons Arts Center, that much more crucial.

Curated by Tatiana von Fürstenberg (yes, the daughter of designer Diane von Fürstenberg), the exhibition is an essential reminder that art can be harnessed for activism. Many shows claim to make the invisible visible, but rarely does the work come from the silenced populations themselves. Von Fürstenberg organized the show in collaboration with LGBTQ prisoner grassroots organization Black and Pink. They placed an open call for art in their monthly newsletter, which reaches 10,000 prisoners. The response was overwhelming, receiving around 4000 submissions from prisons in all fifty states.

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L.A. Art Diary: Week One

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