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Brooklyn Museum

This Week’s Must-See Art Events: F.A.G.’s Strange Genitals & More

by Paddy Johnson and Michael Anthony Farley on October 31, 2016

If ever there was a week for art nerds, this is it. It begins Tuesday with a screening of artist made music-videos Otion Front Studio and a show of meticulously assembled abstract paper works by Jessica Dickinson and Alison Knowles at James Fuentes. Paper nerds and music nerds unite. By Friday, gallery goers will be heading to Transfer Gallery to witness a room full of projectors showcasing a playlist of works by a dozen or more new media artists. New Media nerds rejoice.

In between all this nerdery, there are also quite a few exhibitions promising a good time, not the least of which being our very own Strange Genitals, which opens this Thursday at AICAD. Following this, is the always provocative Marilyn Minter at the Brooklyn Museum come Friday and Jennifer Catron and Paul Outlaw’s performance looking at how the relationship between gravity and politics leads to the break-down of thought. Catron and Outlaw promise an “assembly of libations” after their performance, so don’t make any plans for Sunday.

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Tuesday Links: Brutalist Homes & Gardens, Women Artists Photoshoot Comes to Brooklyn

by Michael Anthony Farley on October 11, 2016

Anton Rodriguez

Barbican resident and photographer Anton Rodriguez has launched an ambitious project to document every one of his 2,000 neighbors’ apartments in the famed brutalist landmark. Mostly, this makes me want to move there. [The Guardian]

Lawyer Pierce O’Donnell is suing his business associate, art adviser and New Age spiritualist Maitreya Kadre, because they bought a painting together that may or may not be a Jackson Pollock. Apparently she keeps the painting locked up in a storage facility, and has been stymieing attempts to authenticate it. What? [Los Angeles Times]

Jeffrey Uslip has unexpectedly resigned as curator at CAM St. Louis. His departure comes on the heels of a racially-charged debate over a Kelley Walker exhibition that many found insensitive in the context of a city with so much recent race-based unrest. [artnet News]

Were the early 90’s an exemplary period of shoestring-budget, groundbreaking curation? Molly Gottschalk argues that the cash-strapped art world of 2016 could learn from the past, as young gallerists weathered the bursting 1980s bubble with innovating programs not reliant on speculation. Of course, rents in art capitals were a fraction of what they are today. How much freedom do non-blue-chip galleries really have when one month of commercial rent in contemporary London or New York is equivalent to what they might’ve made in a year in 1991? [Artsy]

The Queens Museum’s new exhibition Chance Ecologies features artists considering the patches of “wilderness” that have reclaimed vacant lots around the borough’s booming waterfront. [Curbed]

“As a serious music journalist I am proud to note that my article about Insane Clown Posse for Baltimore City Paper made it to Faygoluvers.net and now a bunch of Juggalos are trying to prove how not-sexist they are by calling me a bitch” -Lexie Mountain, on the backlash her hilarious, insightful account of a night deep inside “The Dark Carnival.” [City Paper]

If you’re bummed you missed the group photo of hundreds of women artists at Hauser Wirth & Schimmel in Los Angeles, have no fear. On Sunday, October 23rd, Kim Schoenstadt and assistant curator Carmen Hermo will be restaging an East Coast version of the photoshoot at The Brooklyn Museum’s Beaux-Arts Court. [The Art Newspaper]

The Times’ Style Magazine briefly profiles Paula Cooper, who’s apparently quite the real estate trend-setter, among other accolades. [The New York Times Style Magazine]

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Thursday Links: New York Gets Star Trek Art, Iggy Pop Nudes, and Ersatz Pumpkin Spice

by Paddy Johnson and Michael Anthony Farley on September 29, 2016

Hyunju Kim “NUBIGi, 000, 095” made from sewing-machine thread.

The Paley Center for Media is hosting an exhibition of all Star-Trek-themed art from 50 artists to celebrate the show’s 50th anniversary. It looks like most of it is the kitsch you would expect, but I would totally own this thread portrait of Spock. [Space.com]

In other news surrounding futuristic interplanetary relations, here’s a breakdown of just how Elon Musk plans to transport colonists to Mars. [Space.com]

Remember when we wrote about Medium Quality Screen Captures? The Facebook group is now a print publication and its first issue is out. For $8 you can own a black-and-white zine on the crowd-sourced topic of “Romance.” [Medium Quality]

Curbed has a new map of starchitect-designed buildings coming to New York, from museums and libraries to residential high rises—and actually, more than one residential high rise that includes a museum and/or library. [Curbed]

Uh-oh. You know that pumpkin latte, pumpkin pie and pumpkin spice you’ve been consuming? It’s not pumpkin. It’s squash. This story seems on a par to learning that Hello Kitty isn’t a cat. [Food & Wine]

Here are the long-awaited results of Iggy Pop’s nude modelling session at the Brooklyn Museum. Maybe it’s the staff he’s holding, but some of these drawings kinda look like Lord of the Rings fan art. [Dazed]

Printed Web Founder Paul Soulellis talks with internationally acclaimed GIF artist Lorna Mills. I love this interview, mostly because Mills is so fucking smart. When asked about the relationship of her work to cinema, Mills replies, “I am looking for something else. In the past I’ve described this something else as the particular and peculiar expanding to universals that, at an alarming rate, contract right back to the particular and peculiar—basically, constant oscillation punctuated by the odd abrupt rhythm.” It’s the most precise description of her GIFs I can imagine. [Rhizome]

Artist Malcolm Peacock’s latest piece involves a tour of a park that was once a segregation-era pool. Today the site is marked by a somewhat-forgotten memorial from MacArthur “Genius” Grant recipient Joyce J. Scott. Peacock’s work will touch on death, race, and more. We don’t know exactly what to expect, but many have speculated it will be a book. It’s not a book. [City Paper]

The Sacramento Jeff Koons debate rages on over Facebook. Tim Foster, a local writer and musician, notes that all those complaining about the philanthropic money that went to purchasing a public art work by Jeff Koons should have been spent on local artists, don’t have a history of supporting the arts themselves. Two years ago, The Crest, a 25 year old theatre known for supporting the arts, was pushed out of their home due to a landlord who hoped to make more money off the real estate. There wasn’t half the outcry. [Facebook]

Saddam Hussein’s former Basra palace has been reborn as an antiquities museum. I guess that’s one not-terrible outcome of the invasion. [artnet News]

A map charting the locations of the best Frank Lloyd Wright buildings in the US. [Curbed]

David Shrigley’s new bronze sculpture “Really Good” in Trafalgar Square lives up to its name (it’s a giant thumb’s up, appropriate among bombastic monuments). Here’s an interview with the artist about the art/design/illustration divide, the Brexit, and more. [Dezeen]

Anish Kapoor claims the repeated vandalism of his vaginal sculpture at Versailles was an “inside job.” What does that even mean? [The Art Newspaper]

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Friday Links: Brooklyn Museum, Vanessa Beecroft Unsurprisingly Court Respective Controversies

by Paddy Johnson and Michael Anthony Farley on September 9, 2016

Vanessa Beecroft Kanye

The Brooklyn Museum has named David Berliner president and chief operating officer. Given the museum’s PR problem with accusations of being pro-developer (and by extension, pro-gentrification) this is an odd choice. Berliner served previously as the chief operating officer of Forest City Ratner Companies, the developers who controversially created Atlantic Yards/Pacific Park using eminent domain to displace residents. [ARTnews]

Wow. Kanye West and Vanessa Beecroft can’t seem to stop doing controversial/dumb things. For their latest collaboration, they left models (“multi-racial women only”) standing for hours in the blistering sun on Roosevelt Island for so long that several women fainted and audience members (not production crew) felt so bad that they brought them bottles of water. Why? According to Beecroft, “The long wait before, I believe it was planned because [West] wanted the audience to get into this state of having to observe and having to stay.” [artnet News]

As New York rents skyrocket, in conjunction with higher labor and food costs, the city is hemorrhaging restaurants. Chefs are instead heading to midwestern cities to open places that can afford a “neighborhood” feel or culinary risk-taking. Meanwhile, landlords are ending up with vacant retail space or some combination of banks and Duane Reade locations. [Food Republic]

This post’s title-“Time to Let People Decide if 9/11 Sculpture is Art or Exploitation”-is pure click bait but the post isn’t. Reading through the article we watch the writer cite her own past criticisms of Eric Fischl’s sculpture back in 2002, Eric Fischl’s response years later and her reassessment of her position now. It’s rare to see that kind of bravery in writers. [The New York Post]

In other WTC news, a design has at last been chosen for the complex’s performing arts center. The winning proposal comes from Brooklyn-based firm REX, headed by former OMA architect Joshua Prince-Ramus (who spearheaded the famed Seattle Central Library alongside Rem Koolhaas). It’s a translucent marble box that slightly recalls OMA’s Casa da Musica, or perhaps I.M. Pei’s East Gallery. Those buildings are successful because they feel sturdy, timeless, and permanent yet lightweight and welcoming (as opposed to the 1 World Trade Center tower) and the performing arts center looks to hit those same notes. [Curbed]

It only took three weeks for New York Mayor Bill de Blasio and City Councilman Jimmy Van Bremer to sit down for the meeting de Blasio promised in their latest skirmish over affordable housing, but it happened. Van Bremer has not backed down on his position that the so-called affordable housing at Phipps House slated for Queens is not a good idea. Now, a coalition of nearly a dozen community and arts organizations (Art F City included) will hold a summit on Sunday, Sept. 18, to discuss the Phipps Houses plan, the overdevelopment of western Queens and the SBJSA. [Times Ledger]

Not so sure about the photos on this site, but what the hell: YaPhoto is a new photography platform that’s launched in Cameroon with the mission of promoting an emerging community of Cameroonian photographers. [YaPhoto]

Art Basel has announced Buenos Aires as its first partner in the vaguely-defined Art Basel Cities Initiative. This is intended to “develop a program of cultural events designed to celebrate the city’s vibrant arts scene and raise its profile in the international art world as part of its economic development.” [Miami Herald]

We’ve never heard Joan Semmel’s theory that feminism comes into fashion when the market is down, because women’s art is less expensive. We’re not sure how this theory follows the rules of supply and demand. Art market experts, is this true? Anyway, an interview with painter and feminist Joan Semmel. [Hyperallergic]

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Thursday Links: Mexican Tolerance Museum’s Trump Invitations

by Paddy Johnson and Michael Anthony Farley on September 1, 2016

Trump

Ahead of Donald Trump’s visit to Mexico, the Museo Memoria y Tolerancia in Mexico City (which has a program of artworks and exhibitions about war, genocide, racism, etc…) has been posting messages to him on their social media accounts. My favorite: “FOR YOU IT’S FREE.” [Instagram]

The Italian government, which likes to think of itself as a preservation expert, really didn’t want Venice to go on UNESCO’s list of endangered sites. But Venice is pretty endangered, largely from an out-of-control tourism industry. [The Art Newspaper]

Ramin Shokrizade used the economic model of a multiplayer online game to figure out what’s wrong with our IRL economy, years before the recession hit. Basically, property taxes should be higher to keep speculation in check. In the game, factories sat idle because players bought them up with the idea that they would be worth more “money” as the game progressed. In the real world, speculators snatch up real estate and land bank it as well—most of the “abandoned” buildings you see in East Coast cities are actually owned by investors who don’t put them to use because they’re waiting for a higher return on their investment. Taxing the hell out of vacant real estate would incentivize them to put all that inventory back on the market and force a housing/commercial real estate price correction. [Gamasutra]

The First International Contemporary Art Biennial of South America is seeking proposals from artists through September [BIENALSUR]

Is a museum show really the best and most logical capstone for an art award? Amber Eve Anderson makes a convincing argument that it’s not, based on the Baker Artist Awards exhibition at the Baltimore Museum of Art. I agree with her—after seeing the show I thought “this is it?” All but one of the artists would have been better served with programming such as film screenings or performances. [Bmore Art]

In other Baltimore museum news, The Walters is presenting the tour “Drinking Our Way Through History” with local beers and a focus on art-historical imbibing. This looks like fun. [Facebook]

United Talent Agency is opening an art space in LA’s Boyle Heights. But the agency, which represents celebrity artists, claims it won’t function like a typical gallery. Instead, they’ll partner with out-of-town galleries who want to expand their collector base to Los Angeles and use the space for their artists to “experiment”. [The New York Times]

Huh. Dublin painter Kevin Sharkey has been homeless, arrested for destroying artwork, and collected by celebrities including Courtney Love. Now he’s running for president of Ireland. Somebody give this guy an HBO biopic. [artnet News]

Good Lord. Brooklyn Museum Chief Curator Nancy Spector gets up at 3 AM to write, because that’s the time she can find the quiet and solitude she needs to do it. That is drive. An interview with her at New York Magazine—she is intense. [New York Magazine]

The L Train’s planned disruption in services are more than three years away, and companies are scrambling now to profit off it. Uber has proposed a temporary deregulation of their services that would allow commuters to use a car pool app. We’re not sure how to feel about this. It may well be useful during that time, but it also will compete with the city’s own bus services, which as seen in other cities, has the effect lof eroding those services and creating class systems. Once we have this app will we be able to get rid of it? [Politico]

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This Week’s Must-See Art Events: Augmented Reality, Black Lives Matter, Bromoeroticism, and More

by Michael Anthony Farley on August 1, 2016

It’s August. Very few people are having openings. Which is okay, because you can catch up on some other activities. Such as reading and sports! Head to Printed Matter’s pop-up on Tuesday, then head down to Basketball City for a friendly game with the folks from NADA. Wednesday, the Con Artist Collective is having a $99 art sale in the spirit of a Lower East Side Bodega. Thursday, the New Museum has all sorts of techy delights as they unveil New INC projects and Carter Burden Gallery is hosting a trifecta of medium-specific shows. End the night at the Brooklyn Museum, where Juliana Huxtable will be DJing from within a Tom Sachs installation (uh, hello all my favorite things!). Friday, identity politics gets graphic with Sean O’Connor’s wallpaper-like paintings of homoerotic sports stuff at the Leslie Lohman Museum of Gay and Lesbian Art and Carla Cubit’s Black Lives Matter posters at chashama.

The Queens Museum is on-point with public programming on Saturday, from plastic bag portraits from Nobutaka Aozaki in Flushing and artist tours of Newtown Creek, where many plastic bags have been flushed. And Sunday, there’s Alma Thomas’s dreamy abstract watercolors uptown at the Studio Museum or some timely dystopian cinema at BAM. Thank you, institutions, for giving us stuff to do while the Chelsea crowd is off using “summer” as a verb.

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Stop Being Nice And Other Activist Strategies At The Brooklyn Community Forum on Anti-Gentrification and Displacement

by Emily Colucci on July 27, 2016

Is gentrification inevitable? Or is that just a myth perpetrated by greedy real estate developers and politicians who seek to gain from residents’ fear and inaction? The answer is undoubtedly the latter if Sunday’s Brooklyn Community Forum on Anti-Gentrification and Displacement is any indication.

The anti-gentrification conference shattered the notion that gentrification is a “done deal,” as panel moderator and Director of Hunter College Center for Community Planning and Development Tom Angotti described. Held at the Brooklyn Museum, activists and community organizers, instead, offered a glimmer of hope for displaced and threatened communities.

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This Week’s Must See Events: Benefits, Boom Boxes and Bears

by Rhett Jones on July 18, 2016

It’s a light week for galleries that’s heavy on screenings. That’s just life in the middle of July. But fear not, these screenings are good. We’ve got some demented digital video art from Jacob Ciocci and a MoMA retrospective that promises to shed some light on modern New York. Two excellent online galleries have joined forces to go IRL and there’s a boom box party at the Brooklyn Museum.

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Monday Links: The British Are Coming

by Paddy Johnson and Rhett Jones on July 11, 2016

Sophie Michael, The Watershow Extravaganza, 2016 courtesy of Seventeen Gallery

London’s Seventeen Gallery will be opening a space on Bowery in what some are seeing as a migration inspired by the International Center of Photography opening near the New Museum. Seventeen has a pretty nice lineup of artists, including Paul B. Davis, Sophie Michael and Oliver Laric. [Bowery Boogie]
In what is probably not a coincidence, a self-portrait of Frida Kahlo standing on the border of the U.S. and Mexico will be coming to Philadelphia just 2 weeks before the presidential election. We’re guessing it will be viewed quite differently depending on which candidate is elected. [Art Newspaper]
LACMA is acquiring 39 major lithographs from the legendary L.A. print shop, Gemini. The acquisition includes works by Roy Lichtenstein, Claes Oldenburg, Robert Rauschenberg, John Baldessari, Ed Ruscha and Frank Stella. [Los Angeles Times]
Douglas Gordon has completed a feature about the patriarch of experimental film, Jonas Mekas. It will premiere at the Locarno Film Festival in Switzerland. Not much is known about the piece but the festival’s director says that “Douglas Gordon offers us a truly sensorial experience, which challenges the concept of seeing, and links the idea of the present with that of memory.” Gordon’s previous feature work, “Zidane: A Self Portrait” was an extremely unique approach to portraiture and biography, so the idea of him taking on Mekas is pretty exciting. [Art News] [Opinions belong to Rhett, Paddy does not agree.]
The photograph of a weeping officer that became one of the most iconic images from the Dallas police shooting last week was by an intern at the The Dallas Morning News. [Columbia Journalism Review]
This mirrored library in Yangzhou, China looks like some sort of unholy marriage between the Starship Enterprise and Hogwarts. [Curbed]
Speaking of the Starship Enterprise, the Intrepid Sea, Air & Space Museum has opened an elaborate, interactive Star Trek exhibition. Yes, it’s basically a commercial for the new series that launches next year. But, it’s also a chance to find out what position you’d be given as a Starfleet cadet. [New York Times]
Toronto’s Museum of Contemporary Art has a new CEO. Terry Nicholson, the former director of arts and culture of the City of Toronto, will replace Chantal Pontbriand, who left after only eight months on the job. This appointment seems like a step in the right direction. Nicholson has worked with the institution before and has a long history of successfully pulling projects out of the fire. [The Toronto Star]
The Brooklyn Museum’s anti-gentrification forum was rescheduled this weekend due to an air-conditioning outage that forced the museum to close. It will now take place Sunday July 26th. In the meantime, Ben Davis gives some context to the event and offers a few highlights to look forward to. [artnet News]
Making the rounds: This Warhol style screen print of Donald Trump, with the words “Vote Hillary” inscribed below. The piece is by Deborah Kass. [Facebook]
From Hugo Ball to Kanye West, The Times’ staff takes a look at the history of Dada on its 100th anniversary. [New York Times]
The best thing on the Internet right now: bearcam! We spent most of the weekend watching bears patiently wait for salmon to fly into their mouths in katmai national park, alaska Alaska river. It’s early morning, and as I write this there is only one bear on the cam and a million salmon flying through the air. A good breakfast will be had. [Explore]

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Friday Links: A Mercifully Shorter Frieze

by Michael Anthony Farley and Rhett Jones on July 8, 2016

inside_frieze_new_york_2012

Hot times, summer in the city. Due to an air-conditioner outage and temperatures expected to be in the nineties, the Brooklyn Museum will be closed this weekend. [New York Times]
Eric Shiner, the director of the Warhol Museum, will be leaving to join Sotheby’s. He has held the position since 2011 and will now be Senior Vice President of the new Division of Fine Art. [Artforum]
Frieze is getting shorter next year. Organizers say that the 2017 edition will only be four days rather than the usual five in order to reduce the burden on galleries. Ben Davis reports on the various factors going into the decision. [artnet News]
Jeffrey Deitch has officially announced his plans for reopening the 18 Wooster St. location that was previously home to Deitch Projects. The new/old space will kick off with a series of performances by Eddie Peake that will run September 8-10th and it will not be running on a standard gallery model of representing artists. Despite the very public and acrimonious conflicts that were part of his time as head of the LACMA, Deitch says, “I rented the Wooster Street gallery to the Swiss Institute for five years, and figured that would cover my journey to Los Angeles. I always intended to come back.” [The Art Newspaper]
In advance of its official 2020 opening date, The Main Museum of Los Angeles is offering public programming through “Beta Main”, a sort of preview of what to expect when the new institution opens in its official digs. [Los Angeles Times]
The Second Avenue Subway’s 86th Street station is going to feature huge mosaics by Chuck Close. This is good news if you’re a Chuck Close fan, I guess. [Curbed]
Fairphone—the Dutch phone manufacturing startup that hopes to make the electronics industry less evil—is getting attention even from The Wall Street Journal, print bastion of capitalism. [The Wall Street Journal]
The Guggenheim’s exhibition Åzone Futures Market is essentially an exchange for a new cryptocurrency developed collaboratively. Even after reading this twice, I’m still not sure what this means. Is the message behind all these artist forays into financial markets that no currency makes sense and the economy is totally arbitrary? [Hyperallergic]
Memes generated by an AI are the best memes. Meet Shitpostbot 5000, the internet’s least self-aware content generator. [Geek.com]
Brooklyn’s Trestle Gallery is seeking a new Curator in Residency. [Trestle]

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