One could more or less have the same experience of Frieze by looking at documentation of most of the work. This, despite the fact that visitors can sample dystopian “food” products and see a live donkey (sometimes).
Ted Cruz, the Republican presidential candidate who once said “We need to eliminate the National Endowment for the Arts,” has dropped out of the race after losing the Indiana primary. This inspired Samantha Bee to tweet the above in reference to Cruz’s anti-abortion stance. [Twitter]
The Baltimore Museum of Art has named Christopher Bedford as its new director. Bedford is curating the American pavilion at the 2017 Venice Biennale and will be leaving his post at Brandeis University’s Rose Museum. [The Baltimore Sun]
Real estate developer/art collector Aby Rosen has been ordered to pay New York $7 million in back taxes after some shady art dealings. [Forbes]
Suzy Lake has been awarded the sixth annual Scotiabank Photography Award. The award includes a $50,000 cash prize and a solo show for the Toronto-based artist at the Ryerson Image Center in 2017. [Canadian Art]
App as conceptual art project: Disk Cactus, an Oakland-based artist duo, have created the iTunes app AI*SCRY. Playing off of AI and “scrying” (a method of crystal ball divination), the app adds words pulled from Microsoft’s COCO image recognition database to whatever images you choose to snap with your smartphone camera. The descriptors of this project — ”childlike”, “playful”, “whimsical” — makes this seem less conceptual art project and more an interactive art prototype that could be sold off to a start-up or adapted for an agency. [Hyperallergic]
In animal news, wild gorillas have been found to hum happy songs while they eat. Two sound files are embedded in the article. Singing might be an overstatement for what this is—it’s more like a guttural growl. [New Scientist]
The FBI has searched suspected mobster Robert Gentile’s home for clues related to the 1990 Isabella Stewart Gardner Museum heist, one of the largest unsolved art thefts ever. [The Boston Globe]
Iranian artist Atena Farghadani has been freed after spending more than a year in prison. Farghadani was arrested last year and original sentenced 12 years for a satirical cartoon that depicted Iranian government members as monkeys and goats for bills that would restrict access to voluntary sterilization and contraception. [Art Newspaper]
The Biennale de Montreal announced their preliminary artist list. New works will be commissioned by Moyra Davey and Anne Immhof, and the rest seems to be evenly split between international (Joe Namy, Frances Stark, Nicole Eisenman) and Canadian (Valerie Blass, Luis Jacob, Nadia Belerique). [ARTnews]
Artist Eric Oglander and writer Gideon Jacobs have a new column “Accidental Internet” in which they recontextualize found imagery that is “beautiful, compelling, or interesting, that was not created with the intention of being beautiful, compelling, or interesting.” [VICE]
Ilma Gore, the artist who drew Donald Trump with a micropenis, reports that she was assaulted by a Trump supporter near her home in Los Angeles. A man in a black Honda Civic drove up, exited the car, punched her in the face, and shouted “Trump 2016!” [The Huffington Post]
There may be nothing more distinctive than a Michael Mahalchick show. In the past, his exhibitions have included a mural made during a performance in which he affixed piece of bacon to the wall with their own fat, a stack of Playboy Magazines topped with a hypodermic needle, a gallery full of objects arranged as though they were simply the refuse in a used hotel room of a rock star.
For his fifth solo show at CANADA Gallery, Skin Game, Michael Mahalchick continues to find inspiration in sex, appropriated media, and the history of rock and roll to create a gallery full of darkly romantic pop culture shrines.
We sat down and discussed the significance and the meaning behind the ephemera, and discarded objects he chooses. We also discussed his performances, which have always played a vital role in his work; the last iteration will be taking place May 1 at the gallery
Okay, this map above might be hard to read at this size (big one here), but it gives you an idea of the scale of Greenpoint Open Studios, which runs this weekend and will feature hundreds of artists. That kicks off tonight (Tuesday) with a meet-and-greet happy hour at Le Fanfare. Before that starts, head to Hauser & Wirth for a retrospective of midcentury painter Philip Guston. Wednesday, laugh (or maybe be scared) with Nao Bustamante at MoMA. Thursday, there’s a solo show of Anthony Cudahy’s funeral-inspired paintings at Mumbo’s Outfit in Geary Contemporary and a group show that positions artworks as set pieces at 99¢ Plus in Brooklyn.
The weekend begins with yet more open studios at SVA’s MFA program, followed by the IRL reception and performances for AC Institute’s current online exhibition. More online/offline fun is to be had late night in MoMA’s lobby, where social media artist/rapper Yung Jake presents a multimedia art and music experience that sounds like it will be quite the party. If you’re not too hungover, head to Greenpoint Open Studios on Saturday, followed by a bizarre-sounding Yale MFA show at the Abrons Art Center and a Xiu Xiu performance of music from Twin Peaks at the Kitchen. In a week of “must-see” events, that stands out as a can’t miss. Sunday, Michael Mahalchick’s solo show at CANADA promises to be weird and wonderful, and Greenpoint Open Studios wraps up with yet another party. Wear layers—the weather, like so much art, is going to be unpredictable while you’re trudging around North Brooklyn.
The Independent art fair is apparently all grown up and ready to cement its place of privilege in a new Tribeca location. This year’s event space, Spring Studios, is better known for exclusive fashion and Tribeca Film Festival events, but the organizers believe it is just right for a fair that now considers itself to be mature and ambitious. Aging is perhaps a more appropriate characterization here—this year, the formerly new-blood establishment of the Independent seems as though it is content to coast into retirement.
Do you like art fairs? If yes, you are in luck! If not, get the hell out of New York City this week. Art fairs are multiplying like Gremlins, and mutating as they spawn. We now have specific art fairs for everything: paper, video art, solo projects, Asian art, curator-driven booths, independent artists, dykes, shiny things, boring shows… there’s something for everyone.
With a snow storm threatening the weekend gallery goer routines of most New Yorkers, perhaps only the most intrepid will make out tomorrow and Sunday. But for those who haven’t yet seen today’s recommended shows—Katherine Bradford at CANADA and Drawing for Sculpture at Tiger Strikes Astroid (Bushwick) I have good news: both run through February 15th. You’ve got time.
And that’s a good thing, because pretty much any serious art lover in the city needs to see CANADA’s Katherine Bradford show, “Fear of Waves”.
And she’s not wrong to be upset. A bit of background: of the North compiles user-generated YouTube footage from Nunavut and Northern Quebec; it’s a mash-up of Arctic tundra landscapes populated with oil rigs, hunting, and skidoos but also Inuit men vomiting after drinking binges, and even a desperate Buñuel-esque edit of a vagina that cuts into a video of a dog’s tail hair being trimmed.
Earlier this week, Benjamin Genocchio posted “25 Ways to Change the Art World (for the Better)” on artnet News. While the list had some great suggestions, such as “Museums should devote more solo shows to female artists” or “Massively increase National Endowment for the Arts funding for artists”, many of the proposals seemed inexplicable or eye-roll inducing.
In fact, the average reader probably lacks the full range of incredulous facial expressions necessary to adequately convey their disbelief and/or irritation. To that end, I’ve delved into my collection of found GIFs of actress, activist, and art enthusiast Gillian Anderson—mistress of mysteries and skilled thespian who can communicate the broadest range of precise skepticisms with the subtlist of side-eyes.