How many nearly-identical Philip Guston paintings do you need in one show? If you answered more than 50, but less than 100, be sure to head to Hauser & WIrth before Painter, 1957 – 1967 closes on Friday.
Okay, this map above might be hard to read at this size (big one here), but it gives you an idea of the scale of Greenpoint Open Studios, which runs this weekend and will feature hundreds of artists. That kicks off tonight (Tuesday) with a meet-and-greet happy hour at Le Fanfare. Before that starts, head to Hauser & Wirth for a retrospective of midcentury painter Philip Guston. Wednesday, laugh (or maybe be scared) with Nao Bustamante at MoMA. Thursday, there’s a solo show of Anthony Cudahy’s funeral-inspired paintings at Mumbo’s Outfit in Geary Contemporary and a group show that positions artworks as set pieces at 99¢ Plus in Brooklyn.
The weekend begins with yet more open studios at SVA’s MFA program, followed by the IRL reception and performances for AC Institute’s current online exhibition. More online/offline fun is to be had late night in MoMA’s lobby, where social media artist/rapper Yung Jake presents a multimedia art and music experience that sounds like it will be quite the party. If you’re not too hungover, head to Greenpoint Open Studios on Saturday, followed by a bizarre-sounding Yale MFA show at the Abrons Art Center and a Xiu Xiu performance of music from Twin Peaks at the Kitchen. In a week of “must-see” events, that stands out as a can’t miss. Sunday, Michael Mahalchick’s solo show at CANADA promises to be weird and wonderful, and Greenpoint Open Studios wraps up with yet another party. Wear layers—the weather, like so much art, is going to be unpredictable while you’re trudging around North Brooklyn.
Canadian artist Lorna Mills gets a write up in CBC for her Times Square billboard installation. Love this excerpt: “I’m a Canadian artist and I’ve just put a mountain in Times Square? That kind of made me laugh,” Mills tells CBC Arts, erupting with infectious laughter, appropriately enough. “We just never go wrong when we export charismatic landscapes.” True, true. Can we all talk some more about the Group of Seven, please? [CBC Arts]
The art world is a hot bed of incestuous relationships and intrigue. Some commercial galleries are complaining that museums expect them to sponsor shows that include work by artists they represent. But museums say their expenses are sky high and can’t afford to launch the shows without this support. These financial realities may explain why nearly a third of the major solo exhibitions at museums in the United States between 2007 and 2013 featured artists represented by just five galleries. As you might have guessed those galleries were the big ones: Gagosian, Pace, Marian Goodman, David Zwirner and Hauser & Wirth. [New York Times]
Love this: The Rauschenberg Foundation will ease copyright restrictions on work by Robert Rauschenberg. Among other things this means royalty-free use of his images to museums and educational institutions who use Rauschenberg’s art in promotional materials. [Culture: High & Low]
Martha Tedschi, currently the deputy director of the Art Institute of Chicago will leave to take on the role of director at Harvard Art Museums. [Boston Globe]
NYC is getting new buses that have been outfitted with wifi and charging ports. [Curbed]
Mayor Bill de Blasio promised an unprecedented era of transparency—he would be the first mayor not only to disclose meetings he had with lobbyists, but that all city officials in executive agencies publicly disclose their meetings with registered lobbyists. This would take place on a monthly basis. Well, we’re two years in and we haven’t seen any disclosures. So much for that promise. [Capital New York]
Do you like art fairs? If yes, you are in luck! If not, get the hell out of New York City this week. Art fairs are multiplying like Gremlins, and mutating as they spawn. We now have specific art fairs for everything: paper, video art, solo projects, Asian art, curator-driven booths, independent artists, dykes, shiny things, boring shows… there’s something for everyone.
I gotta say, the new Beyonce video “Formation” (dirty) is pretty incredible. Pretty amazing to see such a political video played at the Super Bowl. [The Internet]
The Hauser & Wirth in Los Angeles sounds like it will be a sight to behold. It’s 100,000 square feet—the size of a Home Depot—and will be modeled off the Kunsthalle — a nonc-ollecting art museum. Except, of course, that this gallery will sell art. Curator and partner Paul Schimmel is organizing the first show, which will be a historic survey of women working in sculpture. [Culture: High & Low]
According to Knoedler & Company’s accountant, apart from the sale of the fakes, the company did not make money. [artnet News]
Speaking the Knoedler & Company, Ann Freedman, the former president of New York’s Knoedler gallery has settled a lawsuit with collectors Domenico and Eleanore De Sole over the sale of a forged Mark Rothko purchased from Knoedler in 2004. The piece sold for $8.3 million. The terms have not been disclosed. [Artnews]
Quote of the year:
So since Hillary cannot yell, since by the virtue of being sane and not a white man she is forced to be the biggest adult in the room, just like Obama has had to for eight goddamn years, I will yell for her.
FIRST AND FUCKING FOREMOST, COOL, YOU LIKE BERNIE’S WISHES AND DREAMS APPROACH TO POLITICS. “FREE COLLEGE FOR EVERYONE AND A GODDAMN PONY.” YES, THAT SOUNDS FUCKING WONDERFUL BUT DO YOU THINK HILLARY COULD EVEN SAY THOSE WORDS WITHOUT FOX NEWS LITERALLY BURYING HER ALIVE IN TAMPONS AND CRUCIFIXES? [Pajiba via: Hyperallergic]
Leave it to Hyperallergic to create the longest, most comprehensive link list of art news out there. Say good-bye to your afternoon [Hyperallergic]
Whoa. In response to the Charlie Hebdo, Andres Serrano’s “Piss Christ” was removed from the AP’s image archives. Serrano discusses the original outcry over “Piss Christ”; he continues to advocate for freedom of expression. [Creative Time Reports]
Scams are everywhere on the Internet. Now they’ve inspired several new art commissions. Arjun Srivatsa discusses third-party pop-up ads, like MacKeeper, in “Human Inside,” a curatorial essay with commissions by himself, LaTurbo Avedon, Eltons Kūns, and Giselle Zatonyl. [Rhizome]
Poetweet will craft your tweets into a poem of the sonnet, rondel, or indriso variety. It’s a new site, so don’t expect it to work perfectly 100 percent of the time. [Poetweet via @mfortki]
In the world of art law, a new bi-coastal firm, Spencer Kerr LLP, has opened offices for “international clients with business and investments in art.” For a spicy take on art law, see our “Two Experts” interview between Franklin Boyd and Sarah Conley Odenkirk. [Business Wire]
And if you’re interested in the book Conley Odenkirk’s book “A Surprisingly Interesting Book About Contracts” discussed in the interview, you can buy it here. Only seven left! [Amazon]
Betting on the Super Bowl Is now an American tradition amongst museums. This year the Seattle Art Museum and the Clark Art Institute will bet art loans on the winner of this weekend’s Super Bowl. This tradition was established by Tyler Green in 2010. [Art Daily]
On the past and future of teledildonics. (You know, electronic sex toys.) [VICE]
AFC friend/furniture designer/past contributor Katie Stout is on Ellen’s Design Challenge! We’d probably watch anyway, but go Katie. [YouTube]
Emoji portraits of Miley Cyrus and other celebrities by Yung Jake. [Miley Cyrus on FB, via Marina Galperina and CNET]
“While searching through the White House art loan records for the Nixon administration yesterday…” begins a typical Greg.org post. I love this. He notes that hundreds of the White House’s artworks went missing during the Nixon Administration. Were they on that helicopter?? The artworks were eventually returned, but again, we now know that Nixon could have smuggled hundreds of artworks on his fucking helicopter. Records show that works were borrowed from the Smithsonian specifically for helicopter display, according to Greg Allen’s research. [greg.org]
Peter Burr‘s black and white lenticular prints—showcased as GIFs above—would have made an good inclusion in Cory and Jamie Arcangel’s “Infinite Fill Show” at Foxy Production back in 2004. That show was inspired by the 1984 Mac software application with varied 16-bit monochrome patterning that could be picked and dropped into areas of the screen to denote color and depth. That show, which was assembled through an open call had only two requirements; the work should be black and white, and have a repeating pattern. Over 80 artists submitted work including Sterling Ruby (his work currently on view at Hauser & Wirth), Katherine Grayson ( Kathy Grayson of The Hole?), and Dragan Espenschied (now at Rhizome as their conservator).
Burr’s series uses fill patterns common in early-nineties computer graphics programs to create his GIFs. These works don’t feel particularly dated, though, perhaps due to the use of 3D modeling. They’re fresh and given the black and white palette, oddly without much somberness.