Claudia Hart’s show at Bitforms is inspired by Alice in Wonderland. I take a look at the exhibition on Artnet; conceptually, Hart’s work is very weak. [Artnet]
Speaking of Bitforms, it seems the gallery cancelled Postfeminism, a show that was slated to open three weeks from now and was curated artist and curator Marisa Olson. Irate about the cancellation, Olson took her complaints to Facebook. [Facebook]
Bad news in San Francisco. Intersection for the Arts has suspended its programs and laid off curators. Their fiscal sponsorship program will remain in tact. [Kqed.Org]
Bad news for the Glasgow School of Art. A massive fire broke out at the school earlier today. [BBC]
Amazon is not making any friends in the literary community for actively discouraging people from buying books from the publisher Hatchett. Now, they have escalated that battle buy refusing orders. [The New York Times]
Roberta Smith says the New Museum is alive with music thanks to Ragnar Kjartansson. This is a review that makes you want to see the show. [The New York Times]
Tom Moody thinks the New Romantics exhibition at Eyebeam would have been better without the New Romantics lens. [Tom Moody]
Thank god we’re (mostly) giving ourselves a break from political coverage this week with an art bingefest: art which is concerned primarily with cat food art, food’lberities, a room full of petroleum gel, and dicks. Back to the good ol’ classic dick blogging.
How does somebody get “bumped up” in pay from from 200k to $1 million a year? At museums, the perks seem to pile on exponentially. According to this piece, not only do prominent museum directors like MoMA’s Glenn Lowry and the Met’s Thomas Campbell get salaries of over a million dollars, they also get free apartments because they “entertain for work”. [Artnet News]
If that pisses you off, then maybe you’ll want to look into worker co-ops, a business model with no boss and no investors to skim off the fattest profits. Apparently people make double the average wage and work less. [New York Times, Boing Boing]
If you missed the hackathon for women in art at Eyebeam, there’s another one this weekend in Washington, DC. [Women in the Arts, h/t @rcembalest].
Karen Rosenberg seems to like Maria Lassnig’s show, but it’s unclear exactly why. The most we get is that “they’re inventive”. [The New York Times]
Unbound, an exhibition in tribute to the late programmer Aaron Schwartz opens tonight at Thoughtworks. You have to RSVP to attend. [Latino Social Innovation]
New York City is experiencing significant population growth. Will this effect your rent? [The New York Times]
In tough times, the AAMD (American Association of Museum Directors) has been acting as a watchdog, imposing sanctions and criticizing museums that are trying to sell off works. The latest culprit is the Delaware Art Museum, which has decided to de-accession four valuable artworks to bail itself out of debt. [Los Angeles Times]
This week, Corinna Kirsch was happy to report that Eyebeam was packed for last weekend’s Art + Feminism Wikipedia Edit-a-Thon. At Eyebeam and dozens of other locations, and 101 women got their own Wiki pages. Art News editor Robin Cembalest compiled a few of those here. [Art News]
A turn by turn account of Sarah Michelson’s “4” at The Whitney. [ArtForum]
Spring/Break, the curator driven art fair, will launch during Armory Week. This year, we’re looking at a “Private/Public” theme. [In the Air]
Katya Kazakina sees a lot of flipping going on in the emerging market. She finds that most speculative investors prefer young male artists under the age of 35 and abstract painters. One of those artists being flipped, Parker Ito, is going to Sotheby’s Contemporary Art Day Auction next week. [Bloomberg]
Just scrolling through the lots at Sotheby’s Day Auction, it’s remarkable seeing older works by auction-stalwarts like Richard Prince and Wolfgang Tillmans side-by-side with works that are obviously too young for the market. Angel Otero, a 2009 graduate from the Art Institute of Chicago, has a three-year-old painting for sale; Oscar Murillo has a two-year-old drawing up for grabs; and of course, the Parker Ito painting that’s also just two-years old. These baby paintings are obviously being flipped. What the fuck is going on here, Sotheby’s? [Sotheby’s]
Speaking of Sotheby’s, another auction breaks records in London. Dum dum dum. [Bloomberg]
Trans-activist and actress Laverne Cox discusses the intersection of misogyny and white supremacy, the media’s objectification of trans bodies, and her new documentary, which sounds like a must-see. [Salon]
We’re still flying by on September’s openings, but by the time the weekend rolls around, we’re gonna see some signs of new art life. Throughout the week, there’s a heckuva bunch of artist talks and lectures. We just might jump out of our panda costumes to attend a few. By the time the weekend rolls around though, we’ll have some hard choices to make. Pandacam re-enactments or Mike Kelley’s behemoth retrospective at PS1, Rollin Leonard’s solo show of cut up digital bodies, or Robert Longo’s Patsy Cline cover band reuniting at The Kitchen. Only time will tell whether the government’s shutdown has greater effects on the art world than anyone could have predicted.
This week, the emerging art world owns its quirkiness. Cleopatra’s has a show about working out; Sara Cwynar builds a kitsch encyclopedia; and Ann Hirsch performs a two-person act set in a chat room.
Also, the New Museum prepares for its major Chris Burden exhibition (get in line now) and the New Yorker sells tickets for the New Yorker Festival this weekend (don’t get too excited). And through the end of next week, the New York Film Festival continues screening independent and critical films. We don’t know anything about film, so luckily, AFC’s resident filmmaker Rhett Jones made us a round-up. All that and more, after the jump!