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’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]
There’s been a variety of fun and whimsical art events lately, but every once in a while there’s a week of substantive works which we’ll be thinking back on for years to come. Performa is one of those, and the online biennial “The Wrong” might be another. And after 41 years, this Tuesday’s event at the Clocktower Gallery may be your last opportunity to visit before it’s turned into luxury condos.
Three editors trekked out to see the first fall shows in the LES. They came back with plenty of banter about some of the season’s best shows so far—at Thierry Goldberg, Invisible-Exports, and CANADA, respectively.
Time for round two of massive openings. After over a year, CANADA Gallery finally reopens in its new Broome street space, right across from P!. On Thursday night, Chelsea opens. On Friday night, something’s going down at the Redhook galleries, but we’re not sure what. And tomorrow, we hope Cleopatra’s doubles its benefit goals for artist, curator, and Dependent Fair founder Rose Marcus, to help her pay for major surgery–and so do many talented artists who’ve contributed to her benefit auction. All that, and more, after the jump!
Comedian Louis C.K. was doing his bit in the 90’s to keep art stereotypes alive. Here he is, playing a swirling-paint-in-toilet-bowl-photographer, addressing his critics and stating his goals. [Gizmodo]
Big news this weekend: the United States government is spying on everyone, and social media companies like Google, Apple, and Facebook are providing the bulk of the information. Whistleblower Edward Snowden leaked a bevy of National Security Agency (NSA) documents to The Guardian, who interviewed him while he’s holed up in a Hong Kong hotel. Gawker has a great guide to knowing the extent of what was leaked, and uncloaking the legalese of Facebook’s response. [The Guardian, Gawker]
Here’s a dose of future shock: Cisco and iRobot have developed a 5’5” robot with a video conferencing monitor in place of a head. At a $70,000 price tag, it’s being developed for companies with employees who work from home. Not only will this make working from home less fun, it means you’ll never be alone again. [TechCrunch]
A message from Michigan State House of Representatives: We’d like to make sure that a law is passed that will keep the city of Detroit from selling off the museum’s assets, but first things first. Vacation ‘til the fall! [Hyperallergic]
Here’s a video by Richard Prince burning one of his disputed Canal Zone paintings. [Gallerist]
The Hirshhorn’s plans to construct an architectural bubble have been scrapped, but that won’t stop the museum’s resigning director Richard Koshalek from keeping his dream alive. The Los Angeles Times reports that Koshalek wants to move back to California at the end of the year, and hopes to shop around a version of the “tech tent” bubble to an institution out there. Just like a traveling salesman. [Los Angeles Times]
Tyler Green has been to see Richard Serra’s Shift in Ontario, Canada! He’s written about the contested piece in depth, and explains its significance in a mix of reporting and criticism. Read this. [MAN]
The Whitney just restored Douglas Davis’ The World’s First Collaborative Sentence (1995), the museum’s first digital acquisition. Nobody’s really sure of the best way to restore online works, the Whitney included. Speaking to this, there’s versions on the Whitney’s site: one that’s new and functional, and then another, “historic” one with broken links. [The New York Times]
Last week we spent hundreds of hours looking at art at the Venice Biennale. We saw a lot of art. It’s a sprawling affair, that invites hundreds of countries to exhibit their nation’s best artwork.
We have a lot to talk about, so without any further ado, here’s part one of our Giardini slideshow with commentary. It features pavilions by Russia, Great Britain, Switzerland, Venezuela, Greece, Poland, Serbia, Japan, South Korea, Germany, the United States, and Canada. Look for part two later today.