Just a tank dog.
- Dog costumes for your “dog parade.” [Frontgate]
- Ukrainian separatists are raiding World War II museums to steal and use Stalin-era tanks in their war effort. “Can you believe it?” one museum visitor told Agence France-Presse. “They’re even stealing museum exhibits now.” [artnet News]
- Last week, Mayor de Blasio announced a New York City municipal ID, which would be beneficial for undocumented immigrants, those without a drivers license, and now, museum-goers. This weekend, the administration announced their plan to work with museums like the Met to make admission free for those with the ID. [The New York Times]
- In the art world, is it only okay to show the political, but not take a political stance? On Thursday night, a workshop by Khaled Jarrar for “10 Days/10 Ideas” was to be held at Undercurrent Projects, but was cancelled the night of. (Jarrar’s work is currently included in the New Museum’s current exhibition Here and Elsewhere, but was denied a visa.) Undercurrent Projects owner Katie Peyton told Hyperallergic that the space does not host “political activist meetings or sponsor political agendas.” This, despite the fact that Undercurrent describes itself as a “freethinking art space inspired by the epic myth of the avant garde.” [Hyperallergic]
- Just how fucked up are classical themes in art history? Let The Toast’s Mallory Ortberg reveal how “The Judgment of Paris” is a tale about some whiny, insecure women who want to know if they’re still hot. The Real Housewives of Mt. Olympus, indeed! [The Toast]
- Cory Arcangel is working on a novel about people tweeting about working on a novel. This would be meta if it weren’t already a Twitter joke taken too far. [Fader]
- Come September, Bushwick’s itsy-bitsy Microscope Gallery is moving into a bigger, more legit space. They’re hoping to raise some dollars on Indiegogo for events and programming by July 30—help ‘em out! [Bushwick Daily]
- Zachary Woolfe, music critic for the New York Times, reviews the Christoph Schlingensief exhibition at MoMA PS1. The exhibit, he writes, is a reminder that “the future of opera has been taking place without us.” Met, take note. [The New York Times]
