Installation view of work by Ryan Gander at Lisson Gallery, 2016. Photo by Jack Hems, courtesy of Lisson Gallery.
- The MacArthur Genius Grants were announced yesterday. Baltimore artist Joyce Scott was the big win in the art world for her “repositioning of beadwork into a potent platform for commentary on social and political injustices”. [MacArthur Foundation]
- Marion Maneker explains how the gallery strategy of only selling to museums to thwart flipping actually increases the desirability to flip. Basically, it increases the value of said work in the hands of private collections. What he doesn’t mention is that the strategy—named by Victoria Miro Gallery—only works when galleries have the luxury of only selling to museums. How often is that? [Art Market Monitor]
- Here’s what it’s like to live in New York’s first “micro housing” experiment, touted as the future of housing in the city. Basically, it’s like a futuristic hotel. [Curbed]
- Remember those naked Donald Trump statues INDECLINE installed in various cities? Apparently someone was such a fan they made off with the Miami edition. Police are pursuing a lead in the theft. [The Washington Post]
- “An increasing number of galleries have become disaffected with [Chelsea’s] concentrated commercialism, or have been priced out, or simply want a change and are seeking new territory.” Oh, for God’s sake. Galleries that sell multimillion dollar art works aren’t disaffected by commercialism. They’ve been priced out by condos. The crux of this story is that Elizabeth Dee has moved to Harlem, and so have other galleries, so there’s a new gallery district in the making. Dee has the good fortune to be interviewed about how her gallery and artists fit into this shift. [The New York Times]
- Chong Weng Ho on the ever-continuing, always dumb debate about whether or not painting is still relevant: “…here’s the thing — outside the white cube, nobody cares if painting is dead. Because people like painting.” Apparently this has been an especially heated conversation in Australia as of late. [Crikey]
- Ryan Gander’s show at Lisson Gallery sounds really fun. The artist has amassed a collection of knick-knacks and detritus (cans of rice pudding, luxury dildos) and arranged them on a conveyor belt. Each one has a personal anecdote, but the narrative connections aren’t always evident to the viewer. Giant robot eyes oversee the whole thing. [Artsy]
