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galerie perrotin

Thursday Links: Handmaids on the Highline

by Michael Anthony Farley on April 27, 2017

The Handmaid’s Train

A post shared by Michael Martin (@martinized) on Apr 26, 2017 at 3:09pm PDT

Basically every review of Hulu’s adaptation of The Handmaid’s Tale says the same thing: it’s a masterful piece of streaming television and scary timely. I binge-watched the first three episodes yesterday. [The Internet]
If you haven’t read the book yet, head to the Highline, where an appropriately dystopian-looking installation contains thousands of free copies of the book. [Curbed]
It’s really hard to tell if Ivan Argote’s solo show at the new Galerie Perrotin sounds great or awfully cheesy. In one video, Argote interviews people born on exact opposite sides of the Earth on the day the Berlin Wall fell, demonstrating how small the popular conception of “history” can be. Another work is a giant golden sweet potato. Mostly, it seems like a lot of romantic text-based works. We’re going to have to see this one ourselves. [Forbes]
This is the art heist movie we’ve been waiting for. Gael García Bernal is set to star in a film about a real-life midnight robbery of a Mexico City museum in the 80s. [artnet News]
The Denver Art Museum will be the only U.S. institution to host the blockbuster exhibition Degas: A Passion for Perfection. [The Know]
Apparently it’s illegal for California art galleries to serve beer and wine at openings, and police in some cities have been cracking down. However, hair salons and barber shops can serve alcohol. What? A new bill, A.B. 629, is hoping to change this. Under the proposed law, gallerists wouldn’t need a liquor license to serve beer and wine. [Los Angeles Times]
Pop artist Marisol has bequeathed her entire estate to Buffalo’s Albright-Knox Art Gallery. Apparently the museum had been the first to acquire one of her works as an emerging artist. Now they’ve received the largest donation in the institution’s history. [The New York Times]
Alex Greenberger and Andrew Russeth have a handy infographic of what obscure art historical movements are trending and which have fizzled out. 1970s Chicago Imagism is apparently more relevant than 1990s-present(?) Stuckism. Who knew? [ARTnews]
Artist and Curator Blair Murphy discusses DC’s rampant gentrification, the loss of art spaces, and hope for the future. [BmoreArt]

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Friday Links: You Can Really Poop in Maurizio Cattelan’s Gold Toilet

by Paddy Johnson and Michael Anthony Farley on September 16, 2016

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Maurizio Cattelan has come out of retirement with a new piece at the Guggenheim. “America” is a fully-functional 18-karat gold toilet, installed in a restroom about two-thirds of the way up the museum’s spiral atrium. [The New Yorker]

Jay Z narrates an op-ed on the War on Drugs, which is illustrated by Molly Crabapple. [The New York Times]

Glad someone finally wrote this essay: What Canadians Understand About Ketchup Chips that American’s don’t. Oddly enough the theory proposed has little to do with Canadians. It’s that Americans fear the ketchup-chip combination. Get over it people. Ketchup chips are good! [The A.V. Club]

Daniel Arsham’s first New York solo show, Circa 2345, is now on view at Galerie Perrotin. From this profile piece, we learn that the artist is color blind and is just now working with color thanks to special contact lenses. Wild. [artnet News]

The National Museum of African American History and Culture opens September 26th and the Times has a gorgeous feature on it. Lots of moving images, huge image spreads, oh yeah, and some text too. Each section is divided by gallery and tracks a path through the museum. [The New York Times]

The Senate is working on a new bill to extend the statute of limitations on claims of Nazi-looted art. [CBS News]

The public forum on gentrification in Queens AFC’s Paddy Johnson is moderating is picking up steam. DNAinfo has published a story on the forum. Let’s make sure Queens doesn’t become the next gentrification battleground. [DNAinfo]

The New York Art Book Fair at PS1 sounds really good and really weird—you can buy editions of everything from Cory Arcangel sandals to wrapped up papers from the NY Family Court’s trash. [ARTnews]

Japanese designer Nendo has installed 50 uncomfortable-looking chairs in Chelsea’s Friedman Benda gallery. The chairs are inspired by illustrations from manga, and accompanied by floor-to-ceiling video projections. [Dezeen]

Yesterday’s Twitter conversation between Carolina Miranda and Jorg Colberg was so funny that I keep remembering it and breaking into laughter. The two discuss their breakfast in the rare language of artspeak for #askacuratorday. Some highlights: @jmcolberg Breakfast is indeed a cyclical concept, a performative gesture that regenerates with the start of each day. @cmonstah It’s not for nothing that in certain circles, you’re referred to as the On Kawara of eggs and toast! @jmcolberg A compliment for sure, though no evidence remains of my performance except its memory. I am the Tino Seghal of huevos fritos. [Hyperallergic]

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Tuesday Links: Making Gene Roddenberry Proud

by Paddy Johnson Michael Anthony Farley Corinna Kirsch on May 26, 2015

A Queens rapper’s homage to feta cheese. The video includes close ups on spanakopita and performer So Tiri walking a goat down a street in Astoria [YouTube]
In an attempt to lure “young creatives” to the t̶o̶t̶a̶l̶i̶t̶a̶r̶i̶a̶n̶ ̶o̶f̶f̶i̶c̶e̶ ̶p̶a̶r̶k̶ city of Dubai, Foster + Partners has been tapped to design a trendy neighborhood based on the Meatpacking District and London’s Shoreditch. [Dezeen]
More on Hitler’s horses: Apparently there’s secret market for Nazi art where the Third Reich’s neoclassical kitsch can fetch millions of Euros. [The Wall Street Journal]
A group of artists in Washington, D.C. are planning to convert unused trolley tunnels into exhibition space under Dupont Circle. [BBC]
Elmgreen & Dragset discuss their show at Galerie Perrotin. The narrative installation is the “sequel” to their recent Victoria & Albert Museum project, which offered glimpses into the fictional life of an aging architect. [ARTnews]
Because no one is sick of hearing about the $179.4 million Picasso, it’s been revealed that the painting’s new owner (maybe) is former Qatari prime minister Hamad bin Jassim bin Jaber Al Thani. [artnet News via the New York Post]
Colin Alexander on the challenges of writing about DuoX’s sprawling, decentralized practice: “[S]earches for ‘non-supplemental’ content of BOY’Dega prove to be fruitless. The large body of interviews the duo have participated in seems to outnumber critical discussions around the seemingly endless web they have manufactured. Why criticize when you’re not sure you can even point to anything? It does follow that all you can do is ask more questions.” [Temporary Art Review]
Guilty-pleasure alert: bask in the nerdy bliss of this behind-the-scenes peek at the Smithsonian’s conservation team restoring the original starship Enterprise model from Star Trek. Apparently there’s some debate over what color gray to use. [Star Trek]
In at least one AFCer’s household, there has been great debate over the value of William Riker’s contribution to the Next Generation. (Paddy Johnson thinks it’s next to nil.) She’s considering reevaluating that opinion now that there’s fan fiction episodes dedicated to making fun of him. [YouTube]
Rounding out today’s STNG coverage, a Chinese tech executive has shelled out $97 million to design offices in the shape of the USS Enterprise. [The Verge]
What happened to walking to a friend’s for dinner? As rising housing costs continue to scatter New Yorkers farther and farther from central Manhattan neighborhoods, the social life of the city has come to be defined by a second commute. Surprisingly, the average city resident now lives in a less-dense neighborhood than in 1970. [New York Observer]
The New York Times Editorial Board weighs in on the de Blasio plan to turn the New York City Housing Authority around. Basically the Housing Authority, after years of neglect and mismanagement is in total disarray. They are operating with a 98-million deficit this year, and need 16 billion just to cover all the repairs that are needed. The plan is to get that money by cutbacks, parking fees, and better rent collection. Also, they will sell some of the parking lots to private developers and then demand that 50 percent of the units be sold at “affordable” rates. A lot of work on the horizon here. [The New York Times]

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Thursday Links: The Art World Demands Answers

by Whitney Kimball and Hannah Garner on September 19, 2013

G. Wayne Clough, the Smithsonian secretary who censored the 2011 “Hide/Seek” exhibit on queer portraiture, has finally resigned. An independent curator of the exhibit told the Washington Post that Clough’s “tenure represents one of the last links to an older model of the way museums relate to the lesbian and gay queer community.” But, as Tyler Green points out, the Post itself minimizes Clough’s censorship by burying the story and mislabeling “Hide/Seek”‘s many defenders (including MoMA) as simply “gay activists.” [MAN] [The Washington Post]
“The Art world is the new music world,” Swiss Beatz said at a carnavalesque opening for the Galerie Perrotin on Tuesday, when the Parisian gallery (the supposed “French Gagosian”) set up shop on Madison Avenue. The afterparty, held at the Russian Tea Room, was an art-world carnival of Damien Hirst spin-art booths and crane-clawing for Murakami plush toys. “Our collectors are in the center of the art world, and you always have to surprise them,” said Mr. Perrotin…“People need pleasure” [New York Times]
If you missed it over twitter, yesterday was #AskaCurator day, in which twitter took its questions to 622 museums worldwide. Hyperallergic has a list of questions which should have been better addressed, most of them about the museum world’s enduring whiteness. [Hyperallergic]
The same questions have been raised perennially by John Powers, and specifically last week on NPR by Deborah Solomon. “This is an art season that could make you think that the feminist movement never happened,” Solomon noted, in reference to an excess of retrospectives for creepy white males (Burden, Balthus, Magritte). Walter Robinson put the question to facebook and points to John Powers’ 2011 proposal for an art world Title IX program, the 1972 law illegalizing gender discrimination in higher education. He thinks it’s worth a shot, and so do we; more on that to come. [John Powers; Deborah Solomon; Walter Robinson]
The gender situation, at least, looks a little better in Chicago, based on NewcityArt’s Art 50 round-up. In the institutional department, Madeleine Grynsztejn and Michelle Grabner lead the pack. [Newcity]
TONIGHT: Pin-Up and Gayletter host the afterparty for the Art Book Fair preview, near PS1. Expect this to be packed. [Gayletter]