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Rose Art Museum

Tuesday Links: Melrose Place as Context

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The Hyde Collection has received a donation of cash and modern and contemporary artwork valued at $11 million. The huge windfall comes to the upstate museum from the architect Werner Feibes and his late partner James Schmitt, who together designer the studio of their friend Ellsworth Kelly [Times Union]

Wow. Here’s the insane story of how Mel Chin and his GALA Committee infiltrated the set of 90s television show Melrose Place with conceptual art. All of the work that appeared on (and sometimes became plot points for) the show will be on view this fall at Red Bull Studios in New York. [ARTnews]

Residents of a rent-stabilized SRO owned by Church of the Ascension are facing eviction following the sale of the building to developers. Remarkably, they’re finding the time to organize an effort to save the building’s interior Keith Haring mural in the midst of freaking out about their living situation. [Curbed]

A group of librarians based in Portland are matching readers with books based on their tattoos. [Katu2]

Here’s an interview with Beckii Cruel, a British girl who accidentally became a Japanese internet celebrity at the age of 14. [Dazed]

A Canadian perspective on the United States election, with just 100 days to go. Very amusing. [Maclean’s]

Yes! Jamillah James has been appointed as the ICA LA head curator! She’s so great. [Artforum]

As if anyone needed convincing, here’s a listicle of all the reasons Rockaway Beach is awesome for artists. [Artspace]

The ambitious installation/exhibition Oakland, I want you to know… at the Oakland Museum of California aims to document the city’s culture before it’s wiped out by tech industry gentrification, and hopefully inspire viewers to political action. [Huffington Post]

A report on The Brooklyn Community Forum on Anti-Gentrification and Displacement gives all the background that led up to the event, plus a report on the conference itself. Notably, after all the fuss about the heavily protested Brooklyn Real Estate Summit back in November 2015, Pasternak nor any of her senior staff showed up for the conference. Why? [Hyperallergic]

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Monday Links: Art by the Speed of a Bullet

by Rea McNamara on May 30, 2016

Only in Japan would a bullet train become an art gallery. Last month, the Genbi Shinkansen opened on the Jōetsu Shinkansen railway line, and features art by contemporary Japanese artists. Some of the art ranges from the more traditional wall hanging (see Kentaro Kobuke’s pencil drawings in the train’s cafe) while others, like the above Nao Matsumoto’s Car No 11, sees the Brooklyn-based sculptor transforming the entire car. Wonder what the install budget was? [ARTINFO]
Despite the public furor over Drouot Richelieu’s Paris auction of sacred indigenous objects, the auction is proceeding today. Hyperallergic’s Allison C. Meier is following the auction live; keep up with it via the hashtags #ParisAuction and #StopParisAuction. It appears, however, that one of the most contentious items — the Acoma Shield — has just been withdrawn. [Twitter]
Related: Erin Joyce checks in on the Phoenix Art Museum’s retrospective of Fritz Scholder. The Luiseño artist passed away in 2005, but left an indelible impact parsing American Indian stereotypes with pop art imagery. [Hyperallergic]
Even artists agree that the possibility of a “Brexit” — Britain exiting the European Union (EU) — is a bad idea. Tacita Dean, among over 280 cultural figures who signed an open letter warning that the Brexit would make London as an arts center “provincial”, is making a large blackboard drawing inspired by The Tempest. During Photo London back in May, Wolfgang Tillmans displayed a series of 26 posters outlining why Britain needs to stay in the EU. [The Art Newspaper]
This is what happens when art is treated as a capital asset: it gets stowed away in a free port, never to be seen again for decades. Good to see some institution directors (Jean-Luc Martinez) and collectors (Eli Broad) voicing their dissent for this increasingly common practice among the superrich, which has come to light following the Bouvier-Rybolovlev affair. Given that the Geneva Free Port in particular is facing reforms following the backlash, why don’t these spaces open their doors, and let the public view their collections? At least it become accessible once more. [New York Times]
Clifton Benevento Gallery is closing. The SoHo gallery was known for giving an impressive roster of artists their first solos, including Wu Tsang, Ned Vena, and Gina Beavers. When Paddy and Michael were in Mexico City for Material, they were both impressed with Benvento’s booth featuring Beavers’s deliberately bad paintings. The gallery’s last day is tomorrow. [Artforum]
It’s commencement address season, and it looks like SVA got a stirring speech/prose poem earlier this month from Carrie Mae Weems on the demands of making art and how to measure your life: “open and alert, you respond sensitively to the world around you, and it causes you a great deal of pain and tremendous trepidation. But, of course, these are the natural byproducts of a closely examined life.” The whole speech is worth watching. [Brainpickings]

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Tuesday Links: Bullshit Reaches Beyond the Confines of the Fine Art World

by Paddy Johnson on April 19, 2016

Real Alcázar, an architectural influence on Game of Thrones

We’ve all heard about the rat king. Now monster rats in the UK are making headlines and they are even more disgusting. A pest controller who goes by the name of Lord Dean Burr shows images of two foot long cannibal rats found in a British housing estate. Yuck. [MSN]
Game of Thrones real-world architectural influences. [Curbed]
Mark Bradford will represent the United States at the 2017 Venice Biennale. Somehow this doesn’t seem like much of a surprise given his huge show at Hauser & Wirth last year. He has backing and the exhibition likely helped make the cast to the US Government. The Rose Art Museum at Brandeis University will head up the project and Katy Siegel, its curator at large, will organize the show. [ARTnews]
Why don’t many galleries list their prices? One explanation from artnet: So tax authorities can’t track their client purchases. Uhhh. Tax evasion can’t be the primary reason galleries don’t list their prices. Isn’t this practice mostly about marketing? Luxury items frequently don’t come with a price tag attached to the piece. Part of what you purchase, when buying these goods, is the doting sales pitch that comes along with it. [artnet News]
The Guggenheim has informed the Gulf Labor Coalition (GLC) that it will no longer negotiate with the group regarding working conditions of the workers who will be building its museum in Abu Dhabi. The group had been in discussions with the museum for months, so the timing seems a bit strange. In a comment, the museum claims it hasn’t chosen a contractor for the building so no abuses have taken place. [Hyperallergic]
Bullshit exists beyond the field of fine art. There’s a new start up called Helena. A journalist embarks on an odyssey trying to figure out what they do. [Gawker]

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We Went to No Man’s Land: Women Artists from The Rubell Family Collection

by Paddy Johnson and Michael Anthony Farley on December 21, 2015

At the Rubell Family Collection, dozens of contemporary women artists working in every conceivable medium left us very impressed.

Michael: Here, the blue-chip market and a private collector managed to accomplish something many institutions or independent curators haven’t—presenting an all-female show that feels as if it has nothing to prove.

Paddy: I still can’t get over how many monumental art works in this show so effectively dominated the space that you’d literally feel awestruck by their presence.

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Monday Links: Looking at Art on a Stationary Bike

by Rea McNamara on November 30, 2015

Oh god, this athleisure Miami fair activation totally deserves a laughing/crying emoji: “SoulCycle is offering free stationary bicycling classes while an artist works inside the popup studio.” [Bloomberg]
“‘It’s a little late now, I’d say,’ he observed dryly during an interview last month in his Lower East Side studio. ‘But better than never.’” On the bittersweet rush by American museums to acquire the works of African American artists for their permanent collections after decades of neglect. [New York Times]
Ridiculous: since President Xi Jinping took office, his tough stance on freedom of speech has led to Chinese artists being under increasing surveillance, and now, the inexcusable shutdown of a Beijing exhibition focusing on domestic violence just hours before its opening. [artnet News]
The other story at last week’s Heffel Fine Art Auction sale was the record sales for three Lawren Harris canvases. “Mountain and Glacier” fetched $4.6 million CDN, the highest ever for a Harris work at auction. The sale comes at the heels of the Hammer retrospective co-curated by Steve Martin, which is reviving international interest in the Canadian painter. [Los Angeles Times]
The National Gallery of Canada is receiving a $10-million gift which will help establish its new Canadian Photography Institute. [Ottawa Citizen]
It looks the NYT investigation on tax-exempt private museums—and the wealthy collector founders who are able to deduct full amount of any art or stock they donate to it—is now being scrutinized by the Senate Finances Committee. [New York Times]
A London Gallery is recreating Miró’s studio for an upcoming exhibition. [The Guardian]
Andrea K. Scott thinks Rachel Rose’s “Everything and More” at the Whitney is a “lock” for best debut in 2015. [The New Yorker]
The suspected Planned Parenthood shooter is apparently a dealer of fine art prints. [artnet News]
Brilliant: an unauthorized arts festival at the Tate Modern is being organized during the Paris climate talks to bring attention to the looming deadline for the big four British institutions to not renew BP’s lead sponsorship. [Deadline]
Stampsy startup founder Roman Mazurenko—best known as editor-in-chief of LAM (Look at Me) Magazine, and a key Moscow cultural entrepreneur—has died. [Artforum]

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Tuesday Links: Museum Acquires Velour Tracksuit

by Paddy Johnson and Michael Anthony Farley on November 24, 2015

Roland Tamayo at Flower Pepper Gallery in LA. [Arrested Motion]

The Victoria and Albert Museum—arguably the world’s preeminent design institution—will be displaying one of those 2004 Juicy Couture velour tracksuits with the rhinestones on the butt. No, this isn’t an exhibition focused on atrocities—it’s about underwear through the ages. [Paper]

Good news out of the Miami gallery diaspora—many of the artists and gallerists fleeing gentrification in Wynwood have decided to buy their own real estate in Little Haiti, hopefully avoiding a repeat of the rent inflation and displacement of the last decade. [The New York Times]

“I too want a majority of Democrats in the House of Representatives, but not people who use others hardships as their stepping stones,” philanthropist and art collector Blake Byrne on why he will no longer be funding Democratic politicians who voted for Orwellian restrictions on Syrian refugees. [Los Angeles Times]

Here’s some timely advice ahead of the art fairs: “7 Art Shipping Nightmares and How Best to Avoid Them” [artnet News]

Moshe Safdie is so great. Here’s a video of the architect/urbanist giving a tour of his retrospective at the National Academy Museum in New York City. [Blouin Artinfo]

Andrea K. Scott reviews Rachel Rose’s space-gazing video “Everything and More” at the Whitney. This is a great review—I haven’t seen the piece yet, but now feel like I have and have already fallen in love with it. [The New Yorker]

A boilerplate pro-developer response to the Brooklyn Real Estate Summit at the Brooklyn Museum. According to the editors over at Crain’s the city is becoming more and more lovely thanks to developers. They also seem to think the protesters were demanding that all building of buildings stop. Huh? [Crain’s]

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Announcing Double Crossing Brooklyn at The Brooklyn Museum

by The AFC Staff on November 9, 2015

The Brooklyn Museum continues its long tradition of focusing on Brooklyn-based artists with a follow up to our landmark survey, “Crossing Brooklyn,” with a new show featuring works by over forty-five artists who live and/or work in Brooklyn. “Double Crossing Brooklyn: 6th Annual Real Estate Summit,” on view Tuesday November 17th featuring practices that span what Johanna Drucker has called “complicit aesthetics’ to Julia Bryan-Wilson’s identification of “Occupational Realism” the artists in the exhibition operate in the field of real estate that seek to erase boundaries between art and Capitalism. While most of the exhibition will take place in the museum’s galleries, there will also be counter programming off-site in the streets and public spaces of the Brooklyn Museum.

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Curating in a Loaded Void: Art in Berlin’s Vacant Communist Architecture

by Rea McNamara on September 18, 2015

When I’m in Berlin, I often think about the city’s most oft told quote, “Berlin is a city that never is, but is always in the process being.” Art critic Karl Scheffler penned those words over 100 years ago and they still seem relevant.

It’s a city that has had to adapt to unfavourable circumstances: the end of the Weimar Republic, the rise of the Third Reich, the postwar allied occupation that led to building the wall separating East and West. The wall was a stark embodiment of the foundational clash between communism and capitalism: the East had its monumental Stalinist architecture, the West its modular concrete utopias. Post-reunification Berlin saw the slow merging of these separate ideologies, and the enduring spatial fiction is that of a city always under construction.

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Friday Links: Chelsea Still the City’s Art Center

by Paddy Johnson and Michael Anthony Farley on September 11, 2015

“’Dismaland’ is spectacular, but its ideas are not everything you want a candidate for history’s largest work of conceptual art to be.” Dan Brooks argues that sarcasm is the new kitsch—the default tone of the internet and now an unfortunate end unto itself in the production of culture. “As with memes, Banksy asks us to substitute the sensation of recognizing a reference for the frisson of wit.” [The New York Times]

More galleries opened in the Lower East Side than any other neighborhood in 2015. Still, Chelsea is by far the capital of the city’s art scene, contrary to reports of a mass exodus in the face of rising rents. Surprisingly, Bushwick seems to not be living up to its hype as the new art destination: only three new galleries have arrived there this year, less than DUMBO and the Upper East Side. [Crain’s]

Where do famous artists teach? This piece could be handy for art-school-shopping, despite its unfortunate “listicle” format. SVA’s MFA candidates get one-on-one time with Fred Wilson and Marilyn Minter, while Ai Weiwei might be offering courses at Univeristät der Künste Berlin next month. [artnet News]

Does the drama surrounding Anish Kapoor’s “Dirty Corner” never cease? Versailles municipal councilor Fabien Bouglé has filed a complaint against Kapoor in response to the artist’s decision to not remove anti-semetic graffiti from the sculpture. Kapoor’s statement: “I think it’s a wonderful reversal; I’ll see him in court… It shows how insane the whole thing is.” Yes, it is insane. So why won’t he just let them power-wash it? [Artforum]

How many more Pablo Picasso shows can MoMA launch? Normally, isn’t a show that would begin to interest us, (we agree with Hyperallergic’s Benjamin Sutton, who describes Picasso as “the Steven Spielberg of European modernism — flashy, prolific, proficient at a vast range of genres, and overrepresented in the mainstream cultural canon.”) but it seems to be getting good reviews. Sutton says there are a number of surprising and inventive works. Roberta Smith at the Times loves the show so much she called the exhibition art. And then there’s the ridiculously titled Jerry Saltz review, “How Picasso the Sculptor Ruptured Art History”. We haven’t been able to bring ourselves to read that one—he makes the show sound like an injury that occurred during sex—but he clearly likes it. [The Internet]

This is really cool. The Hamabul Art Collective is opening the unofficial “Iranian Embassy in Jerusalem”. The group is made up of Israeli, Persian, and Arab artists who hope to spark dialog by highlighting Iranian art, film, and music in spite of their respective governments’ refusals to engage in diplomatic or economic relations. [The Art Newspaper]

Jane Rosenberg, the artist behind the infamously-bad courtroom sketch of Tom Brady, is now seeking legal action against unauthorized reproductions of the portrait. In the past few weeks, it’s showed up on T-shirts, mugs, and phone cases. If she ends up in a courtroom herself, she should cash in with a self-portrait. [The Boston Globe]

An incredible review by Michael H. Miller on Mike Kelley’s show at Hauser & Wirth. On the glass maquettes of Kandor, the capital city of Krypton, Superman’s home planet, Miller says the work makes him feel incredibly sad. “ Curators and dealers seem to be pushing for Kandor as a major part of Kelley’s legacy—or maybe the work is just easier to get on loan—but either way I find so much of it to be mediocre. “Kandor” seems to me to be the product of a man endlessly tinkering with an idea but never really getting it to arrive anywhere beyond Kelley’s general metaphor of alienation…” [ARTnews]

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