Adrián Villar Rojas, “The Theater of Disappearance”
- Adrián Villar Rojas’ The Theater of Disappearance, installed on the roof of the Met through the summer, looks so cool. The artist used the museum’s advanced imaging technology to scan and collage overlooked works from the musuem’s collection. That includes everything from medieval tombs to plaster casts of Renaissance sculptures and banquet tables. These new hybrid sculptures are rendered in black-and-white and feel like a strange end-of-the-world party. I can’t wait to see this IRL. [artnet News]
- Gallerists have been returning, or refusing to display, the work of South African artist Zwelethu Mthethwa following his conviction in the murder of sexworker Nokuphila Kumalo. [IOL]
- Designer Antonino Cardillo added an extension to a Roman art gallery inspired by the opening scene of Wagner’s Das Rheingold opera. Which means, apparently, that every surface has been painted The-Exorcist-pea-soup-vomit-green. I am having a hard time imagining how artwork is going to live in this space. [Dezeen]
- Arturo Di Modica, the sculptor behind Wall Street’s famous “Charging Bull” sculpture is suing to get “Fearless Girl” removed from in front of his piece, claiming it violates his rights as an artist by changing his work’s meaning. Jeff John Roberts points out why this case isn’t likely to go very far. [Fortune]
- Somewhat related: sculptor Steve Tobin is suing nearby Trinity Church for removing his site-specific sculpture from its courtyard. Tobin created the sculpture in the place of a sycamore tree killed by falling debris on 9/11. Now, the church has put it out to pasture—literally, at a retreat center in Connecticut. [The New York Times]
- Allie Wist, an associate art director at Saveur magazine, has a new photo series and recipe project about the dinner menus of the future. Lots of saltwater seafood, thanks to sea level rise, and not a lot of climate-sensitive crops (like chocolate). This is depressing. [NPR]
- Christchurch is still recovering from the devastating earthquake that struck New Zealand in 2011. The Christchurch Art Gallery, which was closed for five years after damage, still hasn’t recouped its pre-quake visitor numbers. And now the museum faces higher insurance costs that make blockbuster shows impossible. [The Press]
