Louise Bourgeois

Katherine Bradford and Drawing for Sculpture: Swimmers and Gender Politics

January 22, 2016

With a snow storm threatening the weekend gallery goer routines of most New Yorkers, perhaps only the most intrepid will make out tomorrow and Sunday. But for those who haven’t yet seen today’s recommended shows—Katherine Bradford at CANADA and Drawing for Sculpture at Tiger Strikes Astroid (Bushwick) I have good news: both run through February 15th. You’ve got time.

And that’s a good thing, because pretty much any serious art lover in the city needs to see CANADA’s Katherine Bradford show, “Fear of Waves”.

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Wednesday Links: CATS IN BAG BAG IN RIVER

November 11, 2015

Yes, our world continues to become more and more like a goofy sci-fi film daily. The 3RDi (pronounced “third eye”) is a headband that looks like a Livestrong bracelet with a tiny camera, documenting everything from the vantage point of the wearer’s forehead. As the image above suggests, it’s a must-have accessory for living in the dystopian police state. [PetaPixel]

Warhol’s “Four Marilyns” fetched $32 million last night at the end of Christie’s sale, but the house had guaranteed it at $40 million. Despite the highlights — Lucio Fontana’s egg-shaped painting sold for $29.2 million, Bourgeois’s spider set an auction record at $28.5 million, Freud’s portrait of Camilla’s ex-husband Parker Bowles $35 million — the two-dale Christie’s sale saw a 41% sales drop from May’s auctions, suggesting that the estimates didn’t necessarily match the quality of artworks. [Bloomberg]

The auction gets the equivalent of a shoulder shrug from Josh Baer who called the 20 percent sell through rate the sign of a healthy market. [Baer Faxt]

Sotheby’s released its quarterly report yesterday, and it appears that revenue from auctions themselves is shrinking. The auction house is offsetting that with income from ancillary activities, such as financial services. This may give credence to speculation that the evening sales don’t make money. [Blouin Artinfo]

In a climate where a 1990 Christopher Wool painting that consists entirely of the stenciled text “CATS IS BAG BAG IN RIVER” sells for $17 million and people are disappointed, it’s hard not to argue that the world is insane. Just how crazy has wealth inequality become? So crazy that apparently the super-rich are buying airfields and farms in remote locations to escape anticipated civil unrest. [The Guardian]

David Stewart wins this year’s Taylor Wessing Photographic Portrait Prize for a group portrait featuring his daughter and her girlfriends surrounded by their smart phones and coffee takeaway cups. The London-based photographer was awarded £12,000 for the National Portrait Gallery’s signature prize. [British Journal of Photography]

A Frank Lloyd Wright house reopens on the grounds of Alice Walton’s Bentonville, Arkansas-based private museum. Formerly located in New Jersey, the Bachman-Wilson House took 18 months and two trucks in order to make the 1,200 mile move. [The Art Newspaper]

Wow, plans have been unveiled for a new 1,000 foot office/residential building in Downtown Brooklyn that would be taller than any New York building outside of Manhattan. While the arrival of new luxury developments is an inevitability we’ve all come to dread, I have to say this design by SHoP architects is pretty nice. The skyscraper incorporates subtle nods to the city’s gothic and art deco spires without coming across as fake-historic or bland—the two options we’re used to seeing plague the city’s architecture scene. It does, however, lend itself to some Lord of the Rings jokes we should all be expecting to hit Twitter any minute now. [Dezeen]

Long Beach, California is getting a new art/craft fair that organizers describe as “Etsy for metalheads.” [LA Weekly]

Artists protesting the Brooklyn Real Estate Summit at the Brooklyn Museum are trying to raise a bit of cash for signs, city permits, etc. Help them out. [Generosity]

Deborah Kass’s sculpture OY/YO was placed in Brooklyn Bridge Park on Monday and will stand there through August. That’s right by our office, so we’ll be heading out to see the sculpture today. [The New York Times]

Fascinating: A study by the Federal Reserve Bank in Philadelphia finds that residents in gentrifying neighborhoods have slightly higher mobility rates than those in non-gentrifying neighborhoods, but they do have a higher risk of moving to a lower-income neighborhood. (Isn’t this because if you’re forced to move its because your income isn’t rising at the same rate as the neighborhood median?) [Bloomberg Business]

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Week Eleven: Dream Exhibitions From Baldessari, LeWitt, Rauschenberg, Laderman Ukeles, Bourgeois, and Schneider

January 24, 2014

Each week I ask for new submissions from readers, but this week I decided to step back and highlight a few dream-exhibition precedents. John Baldessari wants to exhibit a cadaver, Sol LeWitt some mini-art shows in matchboxes, and Gregor Schneider, well, he can never exhibit anything he wants.

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(Re)locating Public Sculpture in Chicago

March 4, 2013

A strange thing about public sculpture in Chicago is that it sometimes has legs. It’s not everyday that these bronze and stone objects grow a pair and walk out of view, but several recent examples of displaced sculpture draw attention to the sometimes strained relationship between public art and the public.

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December 21, 2011

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Louise Bourgeois

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An Interview with Eric Mistretta: When to Panic

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This Week’s Must-See Art Events: Immortalizing Bushwick

Hot as Hell: Peter Burr’s Subterranean Utopias

Beyond Chelsea And The Lower East Side: The West Village Gallery Round-Up Part 2

Beyond Chelsea And The Lower East Side: The West Village Gallery Round-Up Part 1

From Nipple Fountains to Holographic Keith Haring: Governor’s Island is Weird

From Botswana with Love*: The Gaze in Meleko Mokgosi’s Marxist Oil Paintings

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