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deborah kass

Tuesday Links: Famous New Media Artist Jeremy Bailey Promises Personalized Exhibition in Your Web Ads

by Paddy Johnson and Michael Anthony Farley on July 18, 2017

Baltimore Clayworks, a much-beloved ceramic studio and education nonprofit, is filing for chapter 7 bankruptcy after 37 years. Frustratingly, it seems like the board didn’t cooperate with the community in attempting to resolve their cash flow problems, and instead were relying on a real estate deal that fell through. [The Baltimore Sun]
Speaking of closures/real estate deals, The Hard Times continues to roll out the best headlines on the internet: “Record Store You Didn’t Shop at Becomes Condo You Can’t Afford”. [The Hard Times]
I guess this is what it looks like when a reporter who begins with no knowledge of the art world writes about the art world’s transition to online sales. That transition is tracked wholly through Artsy – when other companies are described they’re lumped into categories so broad they misdescribe them. Quotes sometimes come from sources who aren’t exactly authorities on the subjects they discuss. That’s just a result of not knowing much though. The story has an extra grating edge because it’s a tale of privilege (Carter Cleveland is the son of an art historian and financier) soliciting funding for a company that tailors to privilege (art collectors). AND the company’s entire spiel-using the site is so easy it’s “almost pedestrian”—contains a whiff of class appropriation. That said, the article does contain some useful tidbits — the company now reports $20 million a month in facilitated sales (whatever that means). Glad it’s doing well. [The Verge]
The list of amenities at this artist residency is pretty funny. Highlights include “List of extreme activities all around the country” and “Bulgarian phone number – SIM card”. Sign us up! [Art Connect
Frank Lloyd Wright’s Fallingwater house famously straddles a waterfall. Unfortunately, the rapids were a little too rough recently and caused exterior damage, including to the Jacques Lipchitz sculpture “Mother and Child,” which Wright himself selected for the site in 1941. [Architectural Digest]
The NYT has an adorable blurb about the unlikely friendship between Jamie Wyeth, Andy Warhol, and Archie Warhol, the painter’s dachshund. [The New York Times]
Here’s a slideshow of Columbia University’s new Lenfest Center for the Arts, designed by Renzo Piano. It’s an “eh” building. Functional, but I believe Paddy once accurately described the exterior as looking “like a pharmaceutical company’s corporate campus”. [Dezeen]
Politicians about to re-enter an election campaign need to stop getting on the train anytime a problem is announced and start solving the problems. Bill de Blasio doesn’t need to ride the 7 train to see a Mets game, he needs to fix it. [Curbed]
Speaking of Curbed, we’ve noticed Famous New Media artist Jeremy Bailey has taken out an ad that appeared on the site for his “The You Museum”. The project “curates personalized exhibitions that are delivered to you via banners on the websites you visit most.” We want this. [The You Museum]
Brooklynites rejoice: Deborah Kass’ “OY/YO” sculpture is back! It’s been moved to the Williamsburg waterfront. [untapped cities]

Girl Power Is Back: Top 10 Shows For Women In 2016

by Emily Colucci on December 21, 2016

Despite the misogynistic horror of Donald Trump’s campaign and eventual election victory, 2016 was a great year for women in the art. There were compelling solo exhibitions by women artists in major institutions, a copious list of all-women group shows and dynamic revivals of unfairly overlooked female artists’ careers. It seems like 2016 marked the return of much-needed 1990’s-style “girl power.”

Granted, there’s still a long way to go for equal representation, particularly for women artists of color. But, hopefully, this is just the beginning. To celebrate this year’s exciting and timely return to feminism, I selected the ten best shows featuring women in 2016. Results below:

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Tuesday Links: Enough with Hans Ulrich Obrist’s Face Already

by Paddy Johnson and Michael Anthony Farley on November 15, 2016

Salvador Dali’s “Paysage avec Femme” (detail), 1934 Sotheby’s Impressionist and Modernist sale

I (Michael) took a lot of flak for my criticism of Light City, a “light art” festival that the Baltimore Office of Promotion and the Arts sunk millions of dollars into. Now, apparently, even the people who started Light City are unhappy about it. [City Paper]
A holographic Virgin Mary that visitors can “destroy” by artist Timo Toots is causing a problem for an Estonian museum. Man, I love how weird headlines have been now that the culture wars have moved into our “awful future” era. [The Art Newspaper]
Even the promise to work with President-elect Donald Trump is sparking outrage. The American Institute of Architects sent out one such note to its members, causing a backlash from many of its 89,000 members. Good. [Hyperallergic]
Has the art world had enough of curators? Not sure, but I’ve (Paddy) definitely had enough of Hans Ulrich Obrist being the face of all curators. Replacements for the term include “organized by” and “exhibition maker”. [artnet News]
Dealer turned art fair manager Edward Winkleman is using his facebook feed and blog to begin a new series called “History Repeating”. Like the rest of us, he’s terrified by what electing Trump will mean for the country and is pointing out similarities in history where dictators did terrible things. If you’re thinking of Hitler and Nazi Germany, you’re on the right track. [Edward Winkleman]
And here’s a post from a conservatively leaning website, contemplating the moral implications for Republicans who must chose whether they will serve under Trump. To sum up the message: “Don’t do it. Save yourselves.” Great. [Just Security]
Deborah Kass’s Trump on the cover of New York Magazine. [ARTnews]
Sotheby’s Impressionist Modernist sale totaled $157.7 million with 81% of lots sold. Josh Baer says there is a supply problem in the art world that’s slowing sales. [The Baer Faxt]

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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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Is 2016 the new 1994? Feminism in the Art World

by Emily Colucci on May 26, 2016

Is recent art history repeating itself? An increasingly long roster of new all-women group exhibitions and their corresponding press seem to suggest so. From blue-chip stalwarts Hauser Wirth & Schimmel and Saatchi to smaller project and artist-run spaces to last night’s Marc Straus opening If Only Bella Abzug Were Here, are all-female group shows an indication of a permanent commitment to gender equality in the art world or is it just another doomed-to-disappear trend?

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There’s So Much Giant Single-Word Public Artwork in New York City

by Michael Anthony Farley on April 20, 2016

Next month, Public Art Fund is installing a giant text piece by Martin Creed in Brooklyn Bridge Park. This will be one of three text-based sculptures in the area when it opens. What is up with New York’s love of big, single words?

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Worst of 2015

by Michael Anthony Farley on December 30, 2015

What were the top five most scandalous stories we covered this year? The ones people read, shared, and re-tweeted the most, of course. I delved into our site stats to ask why we love bad news so much.

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We Went to No Man’s Land: Women Artists from The Rubell Family Collection

by Paddy Johnson and Michael Anthony Farley on December 21, 2015

At the Rubell Family Collection, dozens of contemporary women artists working in every conceivable medium left us very impressed.

Michael: Here, the blue-chip market and a private collector managed to accomplish something many institutions or independent curators haven’t—presenting an all-female show that feels as if it has nothing to prove.

Paddy: I still can’t get over how many monumental art works in this show so effectively dominated the space that you’d literally feel awestruck by their presence.

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Wednesday Links: CATS IN BAG BAG IN RIVER

by Paddy Johnson Michael Anthony Farley Rea McNamara on November 11, 2015

Yes, our world continues to become more and more like a goofy sci-fi film daily. The 3RDi (pronounced “third eye”) is a headband that looks like a Livestrong bracelet with a tiny camera, documenting everything from the vantage point of the wearer’s forehead. As the image above suggests, it’s a must-have accessory for living in the dystopian police state. [PetaPixel]

Warhol’s “Four Marilyns” fetched $32 million last night at the end of Christie’s sale, but the house had guaranteed it at $40 million. Despite the highlights — Lucio Fontana’s egg-shaped painting sold for $29.2 million, Bourgeois’s spider set an auction record at $28.5 million, Freud’s portrait of Camilla’s ex-husband Parker Bowles $35 million — the two-dale Christie’s sale saw a 41% sales drop from May’s auctions, suggesting that the estimates didn’t necessarily match the quality of artworks. [Bloomberg]

The auction gets the equivalent of a shoulder shrug from Josh Baer who called the 20 percent sell through rate the sign of a healthy market. [Baer Faxt]

Sotheby’s released its quarterly report yesterday, and it appears that revenue from auctions themselves is shrinking. The auction house is offsetting that with income from ancillary activities, such as financial services. This may give credence to speculation that the evening sales don’t make money. [Blouin Artinfo]

In a climate where a 1990 Christopher Wool painting that consists entirely of the stenciled text “CATS IS BAG BAG IN RIVER” sells for $17 million and people are disappointed, it’s hard not to argue that the world is insane. Just how crazy has wealth inequality become? So crazy that apparently the super-rich are buying airfields and farms in remote locations to escape anticipated civil unrest. [The Guardian]

David Stewart wins this year’s Taylor Wessing Photographic Portrait Prize for a group portrait featuring his daughter and her girlfriends surrounded by their smart phones and coffee takeaway cups. The London-based photographer was awarded £12,000 for the National Portrait Gallery’s signature prize. [British Journal of Photography]

A Frank Lloyd Wright house reopens on the grounds of Alice Walton’s Bentonville, Arkansas-based private museum. Formerly located in New Jersey, the Bachman-Wilson House took 18 months and two trucks in order to make the 1,200 mile move. [The Art Newspaper]

Wow, plans have been unveiled for a new 1,000 foot office/residential building in Downtown Brooklyn that would be taller than any New York building outside of Manhattan. While the arrival of new luxury developments is an inevitability we’ve all come to dread, I have to say this design by SHoP architects is pretty nice. The skyscraper incorporates subtle nods to the city’s gothic and art deco spires without coming across as fake-historic or bland—the two options we’re used to seeing plague the city’s architecture scene. It does, however, lend itself to some Lord of the Rings jokes we should all be expecting to hit Twitter any minute now. [Dezeen]

Long Beach, California is getting a new art/craft fair that organizers describe as “Etsy for metalheads.” [LA Weekly]

Artists protesting the Brooklyn Real Estate Summit at the Brooklyn Museum are trying to raise a bit of cash for signs, city permits, etc. Help them out. [Generosity]

Deborah Kass’s sculpture OY/YO was placed in Brooklyn Bridge Park on Monday and will stand there through August. That’s right by our office, so we’ll be heading out to see the sculpture today. [The New York Times]

Fascinating: A study by the Federal Reserve Bank in Philadelphia finds that residents in gentrifying neighborhoods have slightly higher mobility rates than those in non-gentrifying neighborhoods, but they do have a higher risk of moving to a lower-income neighborhood. (Isn’t this because if you’re forced to move its because your income isn’t rising at the same rate as the neighborhood median?) [Bloomberg Business]

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Friday Links: These Birds Look Like the Beastie Boys

by Paddy Johnson on June 5, 2015

These baby falcons look like the Beastie Boys

Baby falcons a top three New York bridges. [Gothamist]
Gawker writers have voted to unionize. Unlike many labor negotiations, no management-labor strife exists—Founder and President Nick Denton has been supportive of the move. “We know, from our experience of online flame wars, that contention is usually counterproductive,” Denton told Capital via instant message last week. Finally, someone who pays attention. [Capital New York]
For the dedicated wanker: DickBib. This plastic washable bib is designed to catch your jizz. Those who want one will have to pledge to the IndiGogo campaign. [Fleshbot]
Ken Johnson gives Deborah Kass’s America’s Most Wanted show up at Sargent’s Daughters the thumbs up. “This project — seen here in full for the first time in New York — might seem just a clever one-liner, but it’s more suggestive than that. Like Warhol’s series, Ms. Kass’s calls to mind the popular trope of the avant-gardist as a kind of outlaw, but with curators framed as aiders and abettors. In our intensely professionalized and monetized art world, is it too fantastical to imagine the whole system as an organized crime against the free spirit of art?” [The New York Times]
Daily Serving and Art Practical are holding a funding drive to raise $1,700 a month to pay writers. Help them out. [Patreon]
The Frick will not destroy its beloved garden. Michael Kimmelman opines on why that’s a good thing. He also encourages the Frick to think out of the box and buy some real estate. Is there no museum without expansion plans in this city? [The New York Times]
Will one museum of contemporary art make Moscow a center for cutting edge art? Not a chance—many artists in this city operate entirely outside the international scene and have barely developed. Nonetheless, this is the premise of Kelly Crow’s article on The Garage, a 58,000 square-foot space in Gorky Park launched by the philanthropist wife of Russian billionaire Roman Abramovich, Dasha Zhukova. It reopens next week. [The Wall Street Journal]
Another gallery launched in complete ignorance of the scene it will participate in. Georges Bergès of Georges Bergès’s Gallery claims many art professionals rarely travel beyond the L Line—his constant trips abroad make him different! Here’s another jewel: “Until recently, galleries only focused on prominent artists, or have taken few risks because of economic and other pressures, and the collector almost always takes a loss because the secondary market for emerging artists is still evolving.” The gallery even has a return policy because they can put it back on their “Global network”. [Artnet news]

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