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paul schimmel

The A-Z MOCA Scandal Index

by Corinna Kirsch on March 14, 2013

Don’t know how to keep up with the MOCA drama? We’re here to help.

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Art World Survival Ideas on the Brooklyn Rail: Part One

by Whitney Kimball on February 11, 2013

Thanks to Martha Schwendener, this month’s Brooklyn Rail includes a long list of alternatives to the art world status quo from a wide variety of thinkers– Artforum editors, academia, activists, gender studies theorists, museums, co-ops, artists– just to name a few. It’s a nice change from last month’s crisis-themed edition. I’ve rounded up the must-reads from the first half, with more to come.

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Brooklyn Museum Curator Catherine Morris on “Six Years”

by Corinna Kirsch on August 3, 2012

Six Years is a book of art-based lists that was compiled by curator and critic Lucy Lippard between 1966 and 1972. Now that book is being transformed into an exhibition, opening September 14th at the Brooklyn Museum’s Sackler Center. I caught up with Catherine Morris, one of the exhibition’s curators, about how the idea for the exhibition came about, what to expect, and the importance of launching historical surveys today. From description alone, this exhibition sounds like a breath of fresh air from the spectacle-driven exhibitions that have lately dotted the museum exhibition landscape.

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The Frieze Talks Are Out and Some of Them are Good

by Leighann Morris on July 18, 2012

The Frieze talks are finally out and available to download as podcasts. Organized thematically, the series centers on the “atlas” and the way that artists and thinkers map, organize, and describe the world. The selection includes some really boring scholars talking about vaguely interesting subjects for an hour and a half (good luck getting past 30 minutes), directors from the Whitney and MOMA reeling a load of PR bullshit about plans to renovate, and some engaging and half-relevant discussions about the Occupy movement, and artists “in conversation”.

AFC has picked out what to listen to and what to avoid, so that you don’t waste your time listening to 20 hours of recorded footage.

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Tuesday Links: Brutalist Homes & Gardens, Women Artists Photoshoot Comes to Brooklyn

by Michael Anthony Farley on October 11, 2016

Anton Rodriguez

Barbican resident and photographer Anton Rodriguez has launched an ambitious project to document every one of his 2,000 neighbors’ apartments in the famed brutalist landmark. Mostly, this makes me want to move there. [The Guardian]

Lawyer Pierce O’Donnell is suing his business associate, art adviser and New Age spiritualist Maitreya Kadre, because they bought a painting together that may or may not be a Jackson Pollock. Apparently she keeps the painting locked up in a storage facility, and has been stymieing attempts to authenticate it. What? [Los Angeles Times]

Jeffrey Uslip has unexpectedly resigned as curator at CAM St. Louis. His departure comes on the heels of a racially-charged debate over a Kelley Walker exhibition that many found insensitive in the context of a city with so much recent race-based unrest. [artnet News]

Were the early 90’s an exemplary period of shoestring-budget, groundbreaking curation? Molly Gottschalk argues that the cash-strapped art world of 2016 could learn from the past, as young gallerists weathered the bursting 1980s bubble with innovating programs not reliant on speculation. Of course, rents in art capitals were a fraction of what they are today. How much freedom do non-blue-chip galleries really have when one month of commercial rent in contemporary London or New York is equivalent to what they might’ve made in a year in 1991? [Artsy]

The Queens Museum’s new exhibition Chance Ecologies features artists considering the patches of “wilderness” that have reclaimed vacant lots around the borough’s booming waterfront. [Curbed]

“As a serious music journalist I am proud to note that my article about Insane Clown Posse for Baltimore City Paper made it to Faygoluvers.net and now a bunch of Juggalos are trying to prove how not-sexist they are by calling me a bitch” -Lexie Mountain, on the backlash her hilarious, insightful account of a night deep inside “The Dark Carnival.” [City Paper]

If you’re bummed you missed the group photo of hundreds of women artists at Hauser Wirth & Schimmel in Los Angeles, have no fear. On Sunday, October 23rd, Kim Schoenstadt and assistant curator Carmen Hermo will be restaging an East Coast version of the photoshoot at The Brooklyn Museum’s Beaux-Arts Court. [The Art Newspaper]

The Times’ Style Magazine briefly profiles Paula Cooper, who’s apparently quite the real estate trend-setter, among other accolades. [The New York Times Style Magazine]

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Thursday Links: A Semiotic Unfolding of the Theatrics of a Panel

by Michael Anthony Farley and Rea McNamara on April 28, 2016

Left: Collector Stefan Simchowitz, dealer Paul Schimmel, Amy Cappellazzo, and writer Sarah Thornton. Right: Artist Dan Colen with dealer Sam Orlofsky. [h/t Artforum]

SFMOMA has finally re-opened its doors after being closed for almost three years due to a $305-million expansion. It’s now double its size, with monographic galleries on the fifth and sixth floors charting the arch of a single artist. Unfortunately, it appears the artists featured — including usual suspects like Ellsworth Kelly, Warhol and Richter — are all male and from New York. [Los Angeles Times]
Call for papers: the University of Maryland is hosting a symposium, “Art History in Digital Dimensions” on October 19-21, 2016, and are seeking applications surveying art historical practices that intersect with the digital realm. Deadline is May 30. [New Media Caucus]
In Peter Zimmerman’s latest exhibition at Museum für Neue Kunst, Freiburg School, he’s poured overlapping layers of colored resin to create a gallery floor that changes to respond to the paintings in each room. It’s so beautiful. [Fast Company]
“With the first season of Real Housewives of Dallas premiering on Bravo earlier in the week, you could have mistaken opening night for a Season Two casting call.” This, and a joke about Dan Colen’s much-seen penis are highlights from Alex Fialho’s Dallas Art Fair diary. I would’ve loved to have seen a panel discussion between Stefan Simchowitz, dealer Paul Schimmel, Amy Cappellazzo, and Sarah Thornton (author of Seven Days in the Art World), which Cappellazzo called a “semiotic unfolding of the theatrics of a panel.” [Artforum]
Lee Henderson argues that Canadian artists or collectives like VSVSVS, Duke and Battersby and Instant Coffee are part of a movement towards “new Hoser aesthetics”: think elaborately-built installations with a lot of unsanded plywood, and “accessibility”. But is this really a Canadian-specific phenomenon? And Vancouver gallerist Will Aballe rightly states on the Facebook share of the story, “when I was in Sydney, Australia for the art fair a couple of years back, a friend described the aesthetic of the booth as very ‘bogan’, which kinda means something like hoser.” [Momus]
Leah Sandals talks about art and motherhood with Moyra Davey, reflecting on the fifteen years since Mother Reader was published. [Canadian Art]
Apparently the gender imbalance in the world of electronic music is much worse than the visual art world (Delia Derbyshire would be spinning in her creepy, creepy grave). Demian Licht, Mexico’s first female Ableton instructor, is hoping that changes with events like Mexico City’s Discwoman festival and all-female releases on her record label, Motus. [Electronic Beats]
Long read of the day: Justin Heckert on how a son survived being injected at 10 months old with HIV by his own father. [GQ]

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Monday Links: New Yorkers Get Shitty Housing, Everyone Else Gets Religious Censors

by Paddy Johnson and Michael Anthony Farley on November 23, 2015

This, dear outsiders, is how we fight terrorism here. They haven’t got a chance! We haz kittens! #BrusselsLockdown pic.twitter.com/sdq1MbrKsz

— Gilles Bordelais (@Gilles_PPDE) November 22, 2015

Is this the dumbest possible solution to New York’s affordability crisis? Today, leasing begins on the city’s first new “micro units” which range from 260 to 360 square feet and rent from $2,540 to $2,910. That’s more than the city’s average rent, for an apartment that doesn’t have a stove or enough space for a houseplant. [The New York Times]
Association for Neighborhood and Housing Development finds holes in the mayor’s affordable housing plan, namely that developers in many affluent neighborhoods could make up to 50 percent of their projects affordable but won’t be required to do so. [Crain’s New York]
Is there any politician more out-of-touch with the city’s realities then New York Governor Andrew Cuomo? According to Politico, he’s threatening to cancel funding for the federal tax-exempt bonds that fund New York City’s (flawed, but necessary) affordable housing program. [Politico, New York]
Artist Siddhartha Kararwal was arrested and had his sculpture “Bovine Divine” seized by police at the Jaipur Art Summit. The sculpture depicts a plastic cow floating from a helium balloon and was intended to call attention to the environmental impact of plastic trash on India’s wild cows. Apparently the installation was offensive to Hindus. The police have since apologized. [BBC News]
Carolina Miranda reports that Hauser Wirth & Schimmel will open their LA Gallery with an inaugural exhibition of all female sculptors. The show was inspired by Ursula Hauser’s personal collection. “I come from the museum world, where it’s always best to start with what’s in a collection, with the history of an institution and build out from there,” says Paul Schimmel. [Culture: High & Low]
A British study titled “Panic! What Happened to Social Mobility in the Arts” found that most people working in creative fields come from middle-class backgrounds, make relatively little money, and often find themselves working for free—barriers that make it difficult for artists from low-income backgrounds to enter the field without support. Unsurprisingly, women make even less money than their male peers. [The Guardian]
Does anyone else watch HBO’s bleak-as-fuck foray into magical realism “The Leftovers”? Watching last night’s especially weird episode, I said outloud multiple times that the whole premise seemed like an unauthorized adaptation of a Haruki Murakami novel. Thanks to the internet, I now know I wasn’t alone. [Reddit]
This is horrible. Poet and artist Ashraf Fayadh, a member of collective Edge of Arabia that has exhibited at the Armory Show and United Nations, has been sentenced to death for apostasy by the Saudi government. The Saudis claim Fayadh’s work promotes atheism. I’d like to argue that theocracies using beheading as a form of censorship is a far more convincing incitement to abandon religion. [artnet News]
A exhaustive and needed survey of artist run galleries in New York. Let’s hope there are more of these. Soloway is a notable omission on these lists! [Artsy, Part 1, Part II]
MoMA’s expansion is going to cost 93 million according to an application filed with the New York City Department of Buildings last Tuesday. The controversial plan includes demolishing the beloved Folk Art Museum building—an architectural landmark—so they can build an atrium space to house building-sized sculptures and performances. The museum has a glut of work in their collection that never gets shown due to space restrictions and continual overcrowding issues. This plan addresses none of these problems, but will cost taxpayers a shit ton. Great. [The Real Deal]
LOL. Dad Magazine. [The Toast]
Brussels residents are flooding twitter with pictures of cats in response to a police request not to post details of ongoing counter-terror operations on social media. Police don’t want to alert potential targets of the raids to police movements. [CNN]

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Monday Links: MoMA Pushback and Doll People

by Paddy Johnson Whitney Kimball and Corinna Kirsch on January 13, 2014

Joel as ‘Jessie.’ (Image from Secrets of the Living Dolls)

AFC’s offices are a buzz this morning, as art news just keeps pouring in!

Jerry Saltz has written a letter to MoMA’s Trustees imploring them not to proceed with Diller Scofidio + Renfro’s design, which he believes won’t be conducive to viewing art. Good luck with that Jerry. This isn’t a problem with the architects, but with their clients. [Vulture]
It looks like the Baltimore Museum of Art has retrieved its stolen Renoir from Baltimore resident Marcia Fuqua, who’d bought the painting at a flea market for $7. Since the work was stolen, the court ruled that Fuqua doesn’t have a right to it. The work was estimated in value at between $75,000-$100,000. [TAN]
Jeffrey Deitch gets a profile in New York Magazine, which washes over curator Paul Schimmel’s dismissal in favor of a creating an image of a “swashbuckling” badboy whose sensational shows were too New York for LA to handle. This is in part true, since L.A. residents didn’t seem to want a celebrity focus in their museums. But Deitch was never supposed to be the museum’s curator, he was its director, and he failed in that department when he lost the support of the board and didn’t raise the necessary funds. He’s a better curator, he’s going back to that, and is looking into space in Red Hook and the so-called SuperPier on the Hudson at 14th Street. [Vulture]
Looks like Occupy may be re-emerging? After Anonymous holds a Bush protest today at Grand Central the Whitney Museum will host an “officially sanctioned” Occupy network at the museum tomorrow night. [twitter]
Former New York Times Editor Bill Keller is upsetting people again. This time, following his wife’s lead in The Guardian, he ruminates on whether Lisa Bonchek Adams, a cancer patient suffering from 4th stage breast cancer, tweets too much. Can’t wait for the New York Times Public Editor Margaret Sullivan to weigh in on this one. [The New York Times]
The Globe and Mail’s Artists of the Year are predictably conservative. Painter Kim Dorland is dubbed “artist of the wild”, and why is Vince Gilligan, an American, the recipient of awards given to Canadians? [The Globe and Mail]
The BBC may be bringing outside TV to North Korea. A senior diplomatic Brit is quoted as saying “I have always believed what brought down the Berlin Wall was not highbrow diplomacy but Dallas and Dynasty.” [TIME]
Artist, filmmaker, and now generally popular person Steve McQueen took home the Golden Globe for Best Picture for 12 Years a Slave at last night’s ceremony. [Gawker]
In case you missed it last week, Amanda Hess really stirred the pot with her Pacific Standard cover story “Why Women Aren’t Welcome on the Internet.” She details death threats that have come her way for writing frankly about sex, and notes statistics that show that this kind of abuse happens far more often to women than men. Times op-ed columnist Ross Douthat responds and suggests that ridding the Internet of male-on-female comment wars is “ultimately a task for men” and involves finding “a more compelling vision of masculine goals,” neither of which is going to help out female writers who’re dealing with trolls right this second. [The New York Times]
The people who dress as blow-up dolls are coming out, and have done so through the documentary “Secrets of the Living Dolls”. We can’t watch the whole thing because we’re not in the area, but maybe our UK readers will have more luck with it. [laughing squid]
And because we’re constantly thinking about butt plugs in preparation for our upcoming benefit auction, I found the “baby Jesus butt plug” who may have been birthed by an alien. [The Slaughter House]

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paul schimmel

Art World Survival Ideas on the Brooklyn Rail: Part One

Brooklyn Museum Curator Catherine Morris on “Six Years”

The Frieze Talks Are Out and Some of Them are Good

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