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]
Marie Lorenz’s Tide and Current Taxi Project (Image courtesy of Frieze)
Artist Marie Lorenz is rowing around Randall’s Island in a rowboat for Frieze projects. She will be a “punctuation mark” within the fair, making it more of a “cultural adventure,” according to Amanda Sharp. [Wall Street Journal]
Actually, this boat ride may be an adventure. The Wall Street Journal neglects to mention that Lorenz’s first Frieze boat sank in the middle of the East River, and her rider had to swim to Randall’s Island. Another sank back in 2009, which resulted in a show at Jack Hanley. Passengers beware. [City Room]
Art critic Ben Davis is back at Artnet after the magazine folded and relaunched as Artnet News! His first column is about the crisis in art and comes with a giant picture of his head. He says money is drowning out thought, and art is bad. [Artnet]
A new documentary about Llyn Foulkes is showing at Film Forum through next Tuesday, but we’re not sure how much more we could learn about the man beyond what’s in the trailer. He was forgotten for a while, he makes weird shit, and he’s obsessive. “He’s actually making the most ambitious paintings at age 73,” though, says one voiceover. [Film Forum]
Artist Sean Carney is only 35 votes away from securing a wrestling match with MoMA’s Poet Laureate Kenneth Goldsmith. Go vote—because why not? [Change.org]
The New York Public Library is abandoning their terrible renovation plan that would turn part of their flagship fifth avenue and 42nd street location into a circulating library. Three factors contributed to this decision: A study showing that the renovation costs would exceed the original estimate of 300 million, a change in city government, and input from the public. Woo hoo! [The New York Times]
“The scale of conspiratorial thinking in Russia is now comparable to that of the US after 9/11.” E-flux journal’s May issue takes on Russia. [e-flux]
Following “tepid” sales at Christie’s Impressionist and Modern auction on Tuesday night, Sotheby’s Imp-Mod sale failed to sell a whopping third of their lots. Okay, Sotheby’s just cannot keep up with Christie’s tepid pace. [Reuters]
$$$! Creative Time raised $1.3 million at their annual fundraiser gala. It was held in the Domino Sugar Factory, which currently houses Kara Walker’s Creative Time project, but will eventually be turned into condos. [Art in America]
Last week’s inaugural Silicon Valley Contemporary art fair was full of art dealers scrambling to figure out what type of art techies might like. Some, like K&M Art, thought techies might want to unload their bitcoins for art. [Medium]
Monday nights you can choose between watching reality TV like Ru Paul’s Drag Race or wrestling entertainment like Raw. It doesn’t matter what you choose; NPR argues that both shows are “essentially one and the same,” both performance art about gender. I’d like to agree, but there’s too much of a focus in this piece on wrestlers performing masculinity and drag queens performing femininity; WWE is full of nearly naked sequined wrestlers twisted into pretzel positions with their oiled-up partners. [NPR]
Art collector and dealer Daniel Wolf and artist and architect Maya Lin have an old jail in Yonkers. They’re planning to transform it into studio space and a gallery. No word whether the collection will be made available public, but even so, the piece is pitched as though it’s about the budding art scene of Yonkers. The only other artist they were able to cite out there is David Hammons. The best part of the piece is when they describe the lack of basic amenities on the waterfront as “shopping.” [The New York Times]
Lawsuit filed against Brooklyn landlords claims they were quick to kick out black residents to make room for white ones. [Gothamist]
For new media lovers: Link Art Center has some sweet-looking art available at Paddle8. [Paddle8]
Lindsay Preston Zappas describes Math Bass’s show at Overduin and Co. as an exercise in visual merchandising. Ouch. [Carets and Stick]
Sarah Jessica Parker interviewed Alex Katz; she filled in for Leonard Lopate. [NPR]
Exhibition A interviews an art collector who’s also an astronaut. The interview’s full of space talk, not so much art talk. [Exhibition A]
Pierre Huyghe joins Hauser & Wirth. Not sure what this means for his New York gallery; he’s currently represented by Marian Goodman. [AMA]
This month’s issue of e-flux journal is mostly about sex. Sex! [e-flux]
Jaimie Warren’s new show at The Hole gets a lauding write up from the Huffington Post. Critic Priscilla Frank is a fan. [The Huffington Post]
William Powhida reviews the exhibition catalog It’s the Political Economy, Stupid. He calls out theorists and critics who hope for a new, post-capitalist art practice without dealing with how we get to there (the future) from here (the now). It’s great. [Hyperallergic]
Magda Sawon did not win the High Line Art commission, but the activist Florent Morellet did. John Ahearn will sculpt his bust, which will go on view to the public in September. [High Line Art]
Though eight weeks old, this story’s totally relevant. Kriston Capps reports that D.C.’s independent gallery scene is shifting, and possibly shrinking. [City Paper]
Did you win this year’s apexart open call? Only if your name is Avi Lubin, Ceren Erdem, Jaime Schwartz, Martin Waldmeier, or Lisa Williams. [e-flux]
The Guggenheim makes history with its app, or at least that’s what some PR-filled reviews would lead one to think. [Long Island Newsday]
“Gadgets will soon be made of crabs and potatoes”. According to The Guardian, this is what we should look forward to with artfully designed tech. [The Guardian]
The house that Ai Weiwei built for contemporary Chinese art collectors Christopher Tsai and André Stockamp has now been sold. The upstate New York “compound” includes three bedrooms and a studio. [Curbed NY]
Malcolm Gladwell wrote about Korean Air back in 2008, saying that they’ve had more plane crashes because their culture is hierarchical. Slashdot seems to think this could explain Asiana Airline’s recent crash. [Slashdot]
We’re feeling pretty lazy after the fairs, so lucky for us, our art has come pre-bundled. This week: three fairs are still open, Eyebeam launches its video festival, and PS1 continues its Expo on ecology. On Saturday, we get to choose between Redhook and Bushwick. Now all we need is a piggy back.
This year, the art world became more dysfunctional than usual. As such, we talked about social injustice, power struggles, and uneven distribution of wealth seemingly endlessly. Who knows if it helped, but writing these ten posts made us feel just a little bit better.
Over the past few days AFC commenters have expressed concerns about e-flux “curating” the .art domain, should the company win the bid. Well, e-flux co-founder Anton Vidokle says that’s not going to happen. The artist and writer responded to AFC commenters this weekend, explaining that art practitioners would simply be given priority over the .art domain should they want it. Vidokle’s comment can be read below or in our comment section.
I doubt anyone in the US is happy with our current funding system for the arts. Artists don’t get paid. Museums rely on increasingly scant funds from the government and shrinking donations from wealthy benefactors and corporations to run their programs. We feel impoverished in a time where there are more people producing great work than ever before. That’s not right.
A plausible solution to at least some of these problems broke this week when e-flux announced its bid for the domain suffix .art.