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Monday Links: New Trend Piece Discovers 30 Year Old Art Trend

by Paddy Johnson and Michael Anthony Farley on August 29, 2016

Lisa Cooley Gallery, one of the most influential scene-makers of the Lower East Side, is closing its brick-and-mortar location on Norfolk Street. Cooley declined to comment on why the gallery closed, but in her email announcing the gallery’s closure she wrote, “Although this chapter is ending, another one is right around the corner—more sustainable, more rewarding, and more interesting. In my mind, this change will continue and extend the direction of the recent gallery program. Stay tuned. I hope to show that growth can be about ideas, not just about scale, and I look forward to seeing everyone in person soon. Lastly, consider taking a break from art and donating to one of these organizations:Food Bank of New York, Planned Parenthood, Children’s Defense Fund”. She sounds disillusioned, as anyone working in this field should be. [ARTnews]

Vogue has identified the hot new trend in the art world: small-scale, intimate paintings supplanting large-scale installations. Except, A: installation art is just as popular as ever, B: all of the work they highlight is of a vein people have been mining since the 80s, and C: none of it is particularly “small.” Essentially, this is just a list of painters in their 20s and 30s who are cool. [Vogue]

Is this the last we’ll hear about the insane lawsuit against Peter Doig? Three legal experts weigh in on the outcome and its place in the history of authentication law. Surprisingly not as dry of a read as one would guess. [artnet News]

Jayne Merkel and Julia Wertz document and mourn some of the innumerable small—and vital—businesses shuttering across New York City as rents rise. Doesn’t it feel like huge swaths of Manhattan are turning into a suburban mall? Even the East Village is getting a Target. [The New York Times]

But the East Village is also getting a shelter for LGBTQ homeless youth, named after Golden Girl Bea Arthur. Arthur donated $300,000 to the Ali Forney Center, and supported it several times before passing away in 2009. [Refinery29]

Theo Ponchaveli has painted a mural of Lee Harvey Oswald on the side of a barbershop in Oswald’s former Dallas neighborhood, now an arts district. Some neighbors are predictably unhappy about the associating the assassin with the area. [Dallas News]

More than 750 women artists gathered in Hauser Wirth & Schimmel’s courtyard this Sunday to mark the closing of their exhibition “Evolution in the Making: Abstract Sculpture by Women, 1947–2016”. Here’s a video from the gathering. [The Los Angeles Times]

Watch the destruction of Pompeii by Mount Vesuvius in this 8 minute 3D animation. [Open Culture]

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Wednesday Links: Stay Gold, Maltese Eagle Statue

by Emily Colucci Rea McNamara on June 1, 2016

In a story straight out of The Maltese Falcon, a five million dollar gold and diamond-encrusted eagle sculpture was stolen right out of the hands of its owner Ron Shore in British Columbia. Shore, who also auditioned 11 times for Donald Trump’s The Apprentice, told CNN: “Without the eagle, I have nothing.” With an emerald from the Spanish Atocha shipwreck, the eagle was strangely constructed as a marketing ploy for The World’s Greatest Treasure Hunt, a book series planned to raise money for breast cancer. [CNN]
Artist Darja Bajagić is crying censorship over a decision by Bucharest’s Galeria Nicodim to not show her artwork Bucharest Molly, a fountain depicting a woman wearing jeans that say “Heil Hitler” holding a teddy bear emblazoned with a swastika, in an exhibition on the aesthetics of evil. In a long statement posted to her Tumblr page, Bajagić skewers the gallery’s understanding of the work, exclaiming “your evil act of censorship justifies exactly what it is that Molly is reflecting. Your unwillingness to allow a light to be shone onto a looming darkness gives life to the very darkness you desired to repress.” [ARTnews]
LACMA’s associate curator of contemporary art, Jarrett Gregory, and Eric Shiner, the Warhol Museum’s director, have been appointed curators of the 2017 Armory Show. [Artforum]
An interview with William Villalongo, one of the artists in the Brooklyn Museum’s Disguise: Masks and Global African Art show, elaborates on how European modernists appropriation of African masks became a point of reference for his paper collage masks. “The masquerade is a place of fiction. The viewer’s imagination is an important part of its activation,” he says, believing it is ultimately “a way to think through such historical gestures.” [After Nyne Magazine]
Tate director Nicholas Serota is not a fan of Guggenheim-style global satellite expansions for museums: “a gallery should be fundamentally rooted in its community—it should grow out of that community and reflect that community—and if you parachute in, I think it’s extremely difficult to achieve. You can make a visitor attraction, but it’s very, very difficult to create something that really grows out of the soil.” [The Art Newspaper]
LA’s infamous homeless neighborhood, Skid Row, continues to be mired in rezoning politics and remains a contentious civic issue as the downtown core becomes revitalized but ignores the area’s entrenched poverty issues. Local artist Rosten Woo and activist-performance art group the Los Angeles Poverty Department (LAPD) are creating a faux nine-hole golf course in response — which received $50,000 from the Mike Kelley Foundation — to explore the area’s history of zoning, and how the city organizes itself. [Guardian]
Doreen Carvajal profiles the Millennium Iconoclast Museum of Art (MIMA), a museum of “culture 2.0” i.e. street art, skateboarding and other urban art, located in Molenbeek, a largely Muslim neighborhood of Brussels. Opened in the wake of the terror attacks in the city, MIMA aims to engage the local community–many of whom feel isolated by Belgian society–including a cultural exchange with a nearby boxing academy. [New York Times]
Invited to a fancy gallery dinner but feeling too riddled with social anxiety to attend? Artnet News presents a series of 11 tips to survive gallery dinners, which seem too general and bland such as “don’t be a schlub” and “don’t flake out.” What about Emily’s go-to strategy–drink too much free wine and blurt out regrettable comments? [Artnet News]
Peter Beard settled his lawsuit with model and artist Natalie White whose upcoming show made AFC’s Must See Events this week. White sued the well-known photographer claiming that she spent her life-savings helping Beard create a series of Polaroid collages with iconic models like Iman. Beard and his wife counter-sued, alleging White plied Beard with booze and drugs to sign a business contract in a nightclub. [New York Observer]
The last time Emily went to a DIS installation, she found herself drinking Red Bull and vodka out of a Starbucks cup shoved into a Croc. This year, DIS curates their “first and only biennial,” the 9th Berlin Biennale. Titled “The Present In Drag,” the collective takes to Artforum to discuss their aesthetic influences and curatorial approach to the Biennale, which will likely involve copious ironic consumer products. [Artforum]

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New Artist-Led Project Surveys Plight of Canadian Arts Interns

by Rea McNamara on January 27, 2016

If an emerging arts worker wants a leg up in the art world, it’s generally acknowledged that a necessary entry point is working an internship. While some of those internships are paid, the lived reality in the Canadian culture sector is that most are unpaid. A new artist-led project is addressing this, with the aim to create a set of best practices for the future treatment of arts interns.

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New Free Courses, Brooklyn Headquarters for BHQFU Spring Semester

by Michael Anthony Farley on January 13, 2016

The Bruce High Quality Foundation University is back with new free courses—and bigger/better/badder than ever after a move to Brooklyn.

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Thursday Links: The Powerful Stay Powerful

by Paddy Johnson Michael Anthony Farley Rea McNamara on October 22, 2015

Carlos Rigau (above) wants you to make a painting. He also squatted one of Miami’s many empty “investment properties” with the writer of this article about him, Rob Goyanes. [Temporary Art Review]
Just to clear up any confusion, James Turrell wants us to know that he definitely had nothing to do with Drake’s new music video [Blouin artinfo]
Jeffrey Deitch and Larry Gagosian are setting aside any rivalries to collaborate on an exhibition of figurative work from the 1980s. It will open during Art Basel Miami Beach in the Design District, not a fair booth. [Miami New Times]
A dark cloud shifted over FIAC’s VIP preview yesterday with news that next year’s Frieze London will be bumped earlier in the month to avoid clashing with Yom Kippur, leaving only nine days in between. One gallerist thinks this won’t be a big deal for the “real” collectors, but another thinks 50% of American collectors will have to choose where they’ll go. Mo money mo problems! [Art Newspaper]
ArtReview’s Power List is out. I guess we’re supposed to be interested in the small incremental changes on this thing. [ArtReview ]
The Basquiat estate is releasing an edition of 60 $50,000 prints through Pace Prints. The announcement was somewhat shrouded in secrecy until today. Now the mystery remains:who is going to pay $50,000 for a print that wasn’t even technically authored by the artist? [artnet News]
Turns out that new eye in speech bubble emoji is part of an anti-bullying campaign. [Wired]
Debating an MFA? Here’s a ranking of best rankings of grad schools for artists. [Hyperallergic]
New York City is changing it’s streetlights, slowly, to whiter, brighter, more energy-efficient LEDs. It’s a move that’s going to totally change how huge swaths of the city look at night. Some people are really, really unhappy about this. [The New York Times]
The fourth and final episode of Lorna Mills’s Ways of Something is premiering at Chicago’s Gene Siskel Film Center tonight, but guess what? You can watch online minute #27 by Jacob Ciocci. [Vimeo]

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ARTnews Merges With Art in America: The Facts and Speculation

by Corinna Kirsch on July 29, 2015

Art criticism is now truly in the hands of the few. News broke last night that ARTnews would buy out Art in America (kind of). These are some details to help you try to figure out what’s actually happening, and what’s just speculation

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At NEW INC Demo Day 2015, a Cheery Future for Art and Tech

by Corinna Kirsch on July 22, 2015

When art mingles with tech, there can be a rush to mass-market artsy/techy products; in the early days of new tech, those products can sound terribly goofy, and they often aim at self-improvement. Take, for example, from 1969, artist Thomas Tadlock’s “Archetron,” a color synthesizer that turned black-and-white signals on a TV into colorful psychedelic imagery. It ended up being sold as a “prophecy, meditation, and healing machine” at a new age center in New York. That product never really caught on; and we tend to remember Tadlock more for his art contribution than a commercial one.

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What’s in Store for Patron, Chicago’s Newest Gallery

by Robin Dluzen on June 5, 2015

An interview with dealers Emanuel Aguilar and Julia Fischbach on their new venture.

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