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The Great Firewall of GIFs: Miao Ying’s Chinternet Plus

by Michael Anthony Farley on July 8, 2016

Currently featured as part of the New Museum’s First Look: New Art Online series, Miao Ying’s “Chinternet Plus” takes on Chinese web censorship, corporate aesthetics, and propaganda with the power of .net art.

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Friday Links: A Good Day For LGBT Rights

by Rhett Jones on July 1, 2016

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The Pentagon has announced that the ban on transgender citizens serving in the military will be lifted. What’s more, transgender recruits will receive full coverage of medical expenses, including hormone therapy and gender reassignment surgery if a doctor determines the procedures to be medically necessary. [CNN]
Two planned buildings in New York’s affordable housing program will be making specific efforts to be more LGBT-friendly. The buildings are aimed to provide housing for low-income, elderly New Yorkers. Programming will include Pride Month celebrations and events that highlight LGBT artists and writers. The initiative is designed to make people in the community feel safer when applying for senior services. [Curbed]
Candy Coleman, the director of Gagosian Gallery’s Los Angeles location has resigned and will be joining Sotheby’s. Her role will be to increase the auction giants west coast operations. [ArtNews]
After 176 years in business, the world’s oldest photography studio is shutting down. Bourne & Shepherd, in Koltaka, India, opened sometime around 1840. Reports say that business has slowly been in decline after a fire destroyed significant portions of their archives, 25 years ago. [artnet News]
Australia has been experiencing severe funding cuts to their national arts program. In addition to 50% small to medium arts organizations being left without funding, 1,300 arts workers are expected to lose their jobs. The Guardian has an insider account of the activist campaign to raise awareness and make this an election issue. [The Guardian]
Tesla has announced that a man died while using the company’s autopilot feature. He is the first known casualty and unfortunately it may be the electric automaker’s fault. Maybe slow down hopes for those driverless cars coming sooner rather than later. [Forbes]
Roberta likes MoMA’s new Bruce Conner retrospective. This thing sounds massive, it features 250 works including Conner’s drawings and assemblages. We’re looking forward to this one. [New York Times]

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I Won the Housing Lottery & Got a Poor Door

by Joyce Yu-Jean Lee on June 10, 2016

One of the most common questions artists ask each other at openings is, “Where do you live?” Perhaps equivalent to the typical New Yorker’s “What do you do?”, most of the artists I’m meeting these days live in Brooklyn. On the rare occasion an artist like me answers “Manhattan,” eyebrows raise.

At least this has been my recent experience, so I quickly caveat with, “I won the housing lottery.” This usually provokes responses like, “Wow, that’s like winning the lottery!” Yes, it is. In fact, the odds were approximately 0.06%.

But being a lottery winner isn’t all limos and 6,000 square foot living rooms.

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Smoke ‘Em if You Got ‘Em: “Frida Smoked” at INVISIBLE-EXPORTS

by Emily Colucci on June 1, 2016

What image is conjured by a woman smoker? Is she chain-smoking Betty Draper living in a Mad Men world defined by advertising and women’s magazines, or grungy and addled Courtney Love, tossing her lipstick-smeared cigarette butts at unsuspecting and adoring fans?

Whether exemplifying the height of ladylike femininity or illustrating the depths of a disheveled mess, there is no denying that throughout history, smoking has come to define numerous female stereotypes.

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5 Steps to Take the Pain Out of Grant Writing for Artists

by Eleanor Whitney on May 31, 2016

Editor’s Note: earlier this month, we launched AFC Workshops: 21st Century Survival for Artists, a two-part series of courses led by artists, educators and art-world insiders designed to give artists the tools to get ahead. Due to the positive response to our May 21 workshops, we decided to run on the blog a series authored by the facilitators summarizing their course’s key takeaways. (If you’re interested, there are a few spots still available for our upcoming June 18 workshops.)

First up, Eleanor Whitney, who led our “Grant Applications, The TL;DR Overview” course. Whitney is a Brooklyn-based community manager and marketer, writer, and educator. She is currently the Community Marketing Manager at Dev Bootcamp and has also worked at Shapeways, the New York Foundation for the Arts, the Rubin and the Brooklyn Museum.

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Breaking into Broken Systems: On Being Marginalized, and the “Politics of Refusal”

by Rea McNamara on May 31, 2016

On a sunny Sunday afternoon, the second floor of Toronto’s Theater Center was packed with artists for the panel DAMNED IF YOU DO: A Conversation on the Politics of Refusal. Co-presented by local artist-run center Whippersnapper Gallery, the panel focused on stories and strategies from the trenches of the “marginalized”: namely, the tricky pursuit of navigating art and funding systems as an “artist of colour” or “visible minority” or whatever fraught PC term can describe what it means to be a racialized body in the art world.

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Wednesday Links: Faking It to Make It

by Paddy Johnson Michael Anthony Farley Rea McNamara on May 11, 2016

Within a 48 hour news cycle, Los Angeles-based band/romantic duo YACHT announced a private sex tape they made was leaked, then said they were going to take ownership and release the tape on their own website, and now it appears the whole situation was just an elaborate X-Files-esque alien sex hoax to promote their new music video. We have a lot of respect for singer Claire Evans — she contributed a great reading list to our Geographically Indeterminate Fantasies show — and the band has a history of trolling clickbait journalism. But given how prevalent revenge porn is online, was it gross for them to pose as victims and prey on our sympathies? Or was this fictionalized narrative no different from what’s seen on the Kardashians? [Pitchfork, Jezebel]
Last night’s results of Christie’s contemporary auction was a reassuring one for the New York art market. The sale totalled $318 million, with over 87% of the lots sold. Reserves were kept low, gaining praise from the auctioneer for being “tight, curated and profitable.” A highlight of the auction records set for artists like Mike Kelley and Agnes Martin was a Basquiat top lot (the 1982 work, “Untitled”) selling for $57.3 million (it was originally estimated at more than $40 million). [The Baer Faxt, The Art Newspaper]
The Trustees, Massachusetts’ conservation nonprofit, has announced a two-year public art initiative that will kick off this summer with commissioned outdoor installations by Jeppe Hein and Sam Durant. [Boston Globe]
Intersectional feminist dialogues went into overload over bell hook’s gripes with Beyonce’s Lemonade. There’s a smart critique in here about Beyonce’s visual album being a commodification of the black female experience. But that’s kind of a “well, duh” point, and I [Rea] can’t help but feel as if hook is kind of Camille Paglia in her second wave dismissal of pop culture, not to mention low-key transphobic in judging black femme feminists. [bell hooks institute, Janet Mock’s Facebook]
The New Museum will be expanding its Bowery footprint. The museum announced yesterday it has raised $43 million towards a $80 capital campaign to renovate it 231 Bowery neighbor and connect it to its current building at 235 Bowery. [New York Times]
Carolina A. Miranda thinks the new Eva Hesse documentary is the full-blown biography the ambitious artist has long deserved. [Los Angeles Times]
An art loving mechanic in France has scored a Renoir for $700. [artnet News]
On the occasion of their pop-up show of cheap multiples at Printed Matter, members of Colab reflect back on their groundbreaking artist-led projects from the 1980s, including the Times Square Show. [Hyperallergic]

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Shelley Bernstein Moves to The Barnes Foundation

by Paddy Johnson on May 10, 2016

The Barnes Foundation is about to get a system-wide update. Best known for its collection of Impressionist, Post-impressionist and early modern paintings, the Foundation announced today that Shelley Bernstein will become their Deputy Director for Digital Initiatives and Chief Experience Officer. For 17 years, Bernstein has served as the Brooklyn Museum’s renowned Vice Director of Digital Engagement & Technology. She leaves that post May 16th.

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