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Ana Mendieta

Monday Links: Failed Banks and More at the Museum of Capitalism

by Michael Anthony Farley on June 12, 2017

Superflex, Bankrupt Banks (2012).

Art duo FICTILIS has opened the Museum of Capitalism in a former industrial space in Oakland. The museum contains works from artists, theorists, and economists that try to imagine the legacy of capitalism from the perspective of its end. Interesting stuff. [artnet News]
Hurricane season is upon us. This news report might be of interest to anyone else who has wondered how the bayfront Pérez Art Museum Miami (PAMM) is designed to hold up in a hurricane. The Herzog & de Meuron designed structure is built from a totally luxurious palette of materials, sits just next to the water, and has huge windows facing the bay. Supposedly everything about the building is super storm-proof. The confidence with which this is repeatedly expressed feels a lot like famous last words. [CBS Miami]
Apartment seeking? Here’s a map and guide to all the affordable housing lotteries one can enter in New York City right now. [Curbed]
Karen Green, Columbia University’s first-ever curator for comics. is now the subject of a comic book herself. The biography comes from Nick Sousanis, the guy who submitted his dissertation in comics form while a doctoral candidate in 2015. [boingboing]
Every 10 years, the Venice Biennale, Documenta, Skulptur Projekte Münster, and Art Basel align to create one jam-packed art summer for Europe. This year the brave writers at ARTnews are trying to do it all, as a contemporary version of “The Grand Tour”. [ARTnews]
Fisun Güner considers the way artists’ dark personal lives affect the way their work is contextualized or received (the protests that accompany Carl Andre’s exhibitions, for example, because he’s accused of murdering his wife Ana Mendieta). There are some good lesser-known stories in here, such as Kenneth Halliwell’s murder of his gay lover, playwright Joe Orton, and how that story is framed at Tate Britain’s show Queer British Art. [BBC]
Delta Airlines has pulled its sponsorship of New York’s Public Theater popular Shakespeare in the Park program because a production of Julius Caesar has a scene that alludes to the assassination of Donald Trump (yes, really). This was a nontroversy until Fox News (of course) criticized the production, which subsequently got the president’s attention and inspired more anti-art funding tweets. Ugh. [Inc.]

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Thursday Links: I’ve Fallen and I Can’t Get Up

by Paddy Johnson Michael Anthony Farley Rea McNamara on April 21, 2016

The Office for Metropolitan Architecture (OMA) has completed an expansion project for the Musée National des Beaux-Arts du Québec, increasing exhibition space by 90%. [Curbed]
Independent Brussels opened yesterday, and apparently the vibes strike a good balance between Independent circa it’s scrappy Dia building days and it’s sleeker current iteration at Spring Studios in TriBeCa. “It’s the Dia building breathing new life,” marvelled Brussels collector Alain Servais. Further, it looks like a lot of booths took risks and avoided pushing paintings, which is appropriate given the city’s collector base for conceptual art. [Artsy]
Juicy Q&A of the day: this interview with Gary Indiana, who adroitly addresses why his time in New York was omitted from his long-awaited memoir, I Can Give You Anything But Love: “all the recent necrophiliac nostalgia for the late 1970s and early 1980s New York…is so off-base that I didn’t want to engage with it at all.” [The White Review]
“When is too rich, too rich to not notice you’re missing a Picasso for 10 years?” Yes, it’s true: billionaire socialite Wilma “Billie” Tisch didn’t notice her Picasso portrait “Tete” had been missing for nearly that amount of time, and was unaware it had been offered at Sotheby’s in 2013. [New York Post]
Kimiko Nishimoto is an 87-year old photographer who takes a lot of “I’m falling and I can’t get up” self-portraits. She learned how to use a camera at 71, and then took courses in digital editing. Amazing. [Booooooom]
AFC Staffer Rea McNamara wrote a feature about the tyranny of celebrity lifestyle gurus. In it she parses the love-hate relationship many women have with Gwyneth Paltrow, Reese Witherspoon, Blake Lively, et al. — and how the distributed content age strengthens the hold celebrities have on our lives. [Globe and Mail]
Uh oh, scientists claim Damien Hirst’s 2012 Tate retrospective featuring his infamous preserved animals leaked unsafe levels of carcinogenic formaldehyde gas. [BBC News]
Jennifer Smith checks in on Anne Pasternak’s first seven months as director of the Brooklyn Museum. On top of green lighting the Jeremy Deller project that had Iggy Pop pose for a life drawing class, she’s striped away by at least over 20% objects on display in the American and European galleries, and plans to hire more curators. Her first show won’t appear until the summer of 2017. [Wall Street Journal]
Hate-read alert: Rémy Martin CEO Eric Vallat complains about how inconvenient a transfer to a cushy job in Tokyo was. Thankfully, he found peace by visiting Naoshima, the island of outdoor art installations and a boutique hotel designed by Tadao Ando. Also, cognac aged in a barrel for 100 years—apparently art appreciation on Naoshima taught Vallat to let it linger in his mouth before swallowing. [The Wall Street Journal]
Josh Baer recommends seeing Georges de La Tour 1593-1652 at the Museo Del Prado in Madrid. We took a look at the work and we wish we were there. Masterful. The image of a young rich man demanding an old woman’s last coin seems not so unfamiliar these days. [Baer Faxt]
Sarah Ann Ottens was raped and murdered on the University of Iowa campus in 1973. Her death inspired some of Ana Mendieta’s most provocative works, who attended the same college, but today Ottens’ name is rarely mentioned. Even Mendieta’s most thorough auto-biography includes no mention of Ottens. Read the whole piece tracing the two histories by Sarah Weinman. Incredible. [The Guardian]
Who in the art world donates what to which politicians? It’s pretty surprising how many collectors and dealers donate to right-wing super PACs. There’s also plenty of bet-hedging: many people donate to both a Republican candidate or PAC and the Clinton campaign. [ART News]

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Thursday Links: Thank God There’s Not a Baby on That Tractor!

by Paddy Johnson and Corinna Kirsch on May 22, 2014

Canadian politics are just as dumb as American politics. Ontario Progressive Conservatives are up in arms because Liberal leader Kathleen Wynne rode on a tractor the wrong way. Thank God she wasn’t holding a baby! [The Globe and Mail]
The Taipei Biennial 2014 just announced its artist list; its theme concerns the relationships between humans and non-humans. Artists like Sterling Ruby were chosen because they use polymers: “In the light, a new generation of artists is exploring the intrinsic properties of materials ‘informed’ by human activity, including polymers (Roger Hiorns, Marlie Mul, Sterling Ruby, Alisa Barenboym, Neil Beloufa, Pamela Rosenkranz) or the critical states of materials (the nebulizations of Peter Buggenhout, Harold Ancart or Hiorns).” Artists have been using all sorts of materials for ages, and for all sorts of reasons outside of interspecies connectivity, but who cares about that. [e-flux]
Red Lobster parent company Darden Restaurants sold the cheese-and-biscuits franchise to a capital equity firm. Hazlitt’s David Berry recaps the Lobster’s more glorious days. [Hazlitt via The Paris Review]
“Everybody told me mink are untameable — they’re the most vicious creatures alive.” Despite that warning, Jesse Hirsch began his lifelong interest in training minks to hunt. [Modern Farmer]
File under heart wrenching stories: Ta-Nehisi Coates’ “The Case For Reparations.” A must-read. [The Atlantic]
You’ve seen this before. Saving room for cats. [Saving Room for Cats]
You’ll see lots of white people looking at Kara Walker’s “A subtlety” at the Domino Sugar Factory. According to Jamilah King, “This is not a bad thing. In fact, it’s reassuring that so many white people have a vested — or at least passing — interest in consuming art that deals with race. At the same time I found it unsettling to view art by a black artist about racism in an audience that’s mostly white. It reinforced the idea that black people’s histories are best viewed but not physically experienced.” [Colorlines]
In case you missed it: A performance made in honor of the late Ana Mendieta left chicken guts out front the DIA Foundation for the Arts. [Hyperallergic]

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Bruce High Quality Foundation University Launches New May Classes

by Corinna Kirsch on May 20, 2014

Bruce High Quality Foundation University (BHQFU), the city’s only bastion for free and off-the-wall art education, has announced new courses for a two-week session this May. It’s part of the collective’s latest acronym-stretching project BYOU (Bring Your Own University).

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Artspirational Sandcastle Time

by Whitney Kimball on July 26, 2013

Sandcastles. Ever since Creative Time rang in its first annual artist sandcastle competition last year, we haven’t been able to get enough of them. But can this year’s competition–coming up on August 9th–possibly top last year? We dunno, but for inspiration, we look to art.

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Ana Mendieta: Documentation and Artwork, 1972—1985

by Art Fag City on September 9, 2010

Ana Mendieta: Documentation and Artwork, 1972—1985 Date: Thursday, October 28th 2010 – Saturday, December 11th 2010 Venue: Galerie Lelong, 528 West 26th Street For those of you who value the resurgent interest in feminist art, check out Ana Mendieta at Galerie Lelong. Mendieta’s artwork defies simple categorization, evoking concerns about the body, femininity, nature, and performance. […]

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Ana Mendieta

Ana Mendieta: Documentation and Artwork, 1972—1985

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