New World Design, Flying Pigs on Parade: a Chicago River Folly (2016). Courtesy New World Design.
- Yes! Former Washington Post art critic Jessica Dawson is bringing dOGUMENTA to Manhattan this August. The art show is curated with dogs as the intended audience and will be installed outside, hung at doggie-level, and mindful of the limited color spectrum visible to canine eyes. [W]
- Chicago architect Jeffrey Roberts of New World Design is planning a Pink Floyd-inspired Trump protest installation and has the band’s blessing. If all permits and fundraising go ahead as planned, it will comprise a series of gold pig balloons anchored to barges in the Chicago River, obstructing Trump’s giant gold name on his tower there. [artnet News]
- Looks like the Trump administration has one more post to fill. The White House curator, William Allman, is retiring after 40 years at the residence. [The Art Newspaper]
- Banksy’s large Brexit-themed mural in the UK has already been tagged. This story is only of interest because it’s brought the following two sentences to a newspaper: “But thugs armed with spray paint have written the words ‘THE CLASH’ – complete with an anarchist ‘circle A’ symbol on top of it. Whether this is in reference to the punk band whose second album opens with the song ‘Safe European Home’ is unclear.” [EXPRESS]
- “Behold the Health Goth Choir That Rules the Art World” is basically the best headline we’ve seen out of Venice this year (or ever). Coincidentally, health goth is Paddy Johnson’s favorite goth subculture! [Observer]
- Oh, nope this headline might be better: “Courtney Love Is Here in Venice to Defend Damien Hirst”. [ARTnews]
- Looks like Courtney will have her work cut out for her: Damien Hirst is being accused of the deadly sin cultural appropriation! Hirst’s epic “Treasures from the Wreck of the Unbelievable” features dozens of faux-antiquities from a fictional ancient collector’s shipwreck. Among them, knockoff Ife-era sculptures inspired by artifacts from Nigeria are supposedly problematic. Hirst’s exhibition fully credits the sources of his work, so I don’t see what the problem here is. It seems like an example of outrage-bootstrapping to get attention on the part of the “offended”. [CNN]
- Blake Gopnik on the importance of preserving brutalist architecture. [artnet News]
