- The art fair Paris Photo officially shut down having been closed all of Saturday due to the terrorist attacks Friday night. Carolina Miranda spoke to Jean-Daniel Compain, a senior vice president at Reed Exhibitions, the fair organizer about the decision. Looks like the fair is going to take bath on this iteration of the fair due to its closure, but Compain said taking care of their exhibitors and visitors had to be their first priority. The fair will continue next year. “Of course we will continue the show,” Compain said. “We will face the barbarians. It’s a question of civilization and culture.” [Culture: High & Low]
- We saw lots of complaints over facebook this weekend about how little attention Beirut was getting compared to Paris. The reaction has indeed been different—no country lit up its landmarks with the colors of Beirut’s flag as they did with Paris—but the media did not ignore the attacks there. Artist Martha Rosler has the statement of the day via facebook. “Saying ‘the media’ ignored the attack on Beirut (and so many other attacks, including the almost endless ones by the US) is to confess one’s own refusal to pay attention. And to imagine that what “we” see in ‘our’ media is what the rest of the world’s media also show. This is a pernicious form of political narcissism.” [Facebook]
- And for those who are fearful of what these attacks mean for France and the rest of the world, here’s some good, common sense from Paul Krugman: ISIS will not destroy Western civilization. [The New York Times]
- Richard Haden reports on the demise of Wynwood as Miami’s arts district. The rampant gentrification of the area has led to a mass diaspora of galleries, many of whom are purchasing their own spaces in lower-density, lower-income neighborhoods scattered across the city. It looks like the days of gallery-hopping on foot are gone. [ART IS ABOUT]
- Baltimore’s monthly screening/performance series Lighthole has put out a free, open call for video, performance, and writing for their December iteration. This month’s topic is “Idols” and will be accompanied by a printed journal. This is a great artist-run project, submit! [Lighthole]
- Citing the success of Leipzig, Germany’s Wächtershäuser program, Colin Alexander makes the case for postindustrial cities giving vacant buildings to artists. [The Baltimore Sun]
- There’s now a petition to create an “Art” category in Apple’s App Store. The petition claims that it’s currently difficult to locate apps by art institutions and artists, a new medium that’s proliferating rapidly. [PSFK]
- A Washington state agency is removing four paintings from an exhibition of Native American artists in its lobby after complaints from law enforcement. The paintings are the work of Leonard Peltier, a Native American activist who is serving two life sentences after being accused of killing two FBI agents during a stand-off on a reservation in 1975. [ABC News]
- Despite selling a record-breaking $1.1 billion of art in 10 days, Sotheby’s is offering employees buy-outs ahead of downsizing. The auction giant is facing declining profits and slumping shares, as their expenses have evidently outpaced what seems to be otherwise astronomical income. [Bloomberg]
- Francis Bacon fans rejoice: A new Francis Bacon catalogue will reveal 100 previously unseen works. [The Guardian]
This week’s opening of Jeff Koons’s Gazing Ball exhibition has us thinking about balls. Blue balls. Big, iridescent blue violet balls communing viewers with the ancient times, the metaphysical, the artistic gesture, the universe—space, the final frontier, and, the reflected self. You. Yeah, you. You’re number one. Self-actualize your human potential by staring at yourself. Because who’s going to do it for you?
So it’s rather apt that instead of staring at Koons’s balls, we’re looking at Zach Dougherty’s version. We’ve previously featured the Portland-based artist, and appreciate this skillful treatment of the subtle transformation: the gazing ball amorphously becoming the historical object. And at least there is a knowing acknowledgement that the source material is malleable, and continually morphs through the ages.
How has technology impacted art? Whitechapel Gallery will be addressing this question in a landmark exhibition launching in January 2016. Entitled Electronic Superhighway (2016-1966), the show will bring together over 100 multimedia artworks from the past 50 years. Over 70 artists will be involved, including Nam June Paik, Cory Arcangel, Lynn Hershman Leeson, Hito Steyerl, Jeremy Bailey, Amalia Ulman, Douglas Coupland and Judith Barry.
The show is clearly a major coup for its curator, Omar Kholeif, whose rise in the artworld has garnered comparisons with Hans Ulrich Obrist. It’s an ambitious survey that is much needed in a genre still struggling for institutional validation. So, it’s concerning that a majority of the internet art represented in the show will come via the archives of new media non-profit, Rhizome. While Rhizome has substantially impacted collecting and preserving digital art works, they still only represent the perspective of one organization.
Nuh-uh. Nope. Sorry, not interested. See these hands? See how these hands, in unison, are waving you away? Squad goals: saying no with such elaborate choreography. OK, let’s go even further back: talk to the hand. I know, whatever, but honestly, I’m fine. I really don’t need anything. Just an exit, at this point, would be greatly appreciated. Please go.
If ever there was a work that inspired such internal dialogue possibilities of varied dismissals, surely it is this GIF from artist and animator Hayden Zezula. Who knew it could be so zen to wave it all away?
There’s something rather both meditative and masturbatory about Kelton Sears’s self-described “poop loop”.
Online art exhibition The Wrong Biennale’s second iteration has been live for over a week now. Much like the internet itself, The Wrong is huge and unwieldy and generated by so many authors that it’s thematically and qualitatively inconsistent beyond recapitulation or even judgement, really. That being said, The Wrong’s greatest utility might be its capacity to lay bare all the strengths, challenges, and glorious failures of displaying and viewing digital art online.