It’s been two weeks since New York Times critic Ken Johnson penned his review of Michelle Grabner’s show at James Cohan and debate over whether he used sexist language to dismiss it still rages on. A few responses to the responses on the responses.
Just like a reality TV show, the premise behind this year’s Whitney Biennial aims for high spectacle: What happens when you take three curators and ask them to put on three separate exhibitions at one of the world’s most prestigious museums? The world watches on, and we wonder what could possibly go wrong.
Jason Foumberg went to the College Art Association’s annual conference and found nuggets of social activism. And a surprising amount of Laurie Anderson. [Artforum]
The Samsung Galaxy 5 will drop in April. This special phone will include a fingerprint sensor for security and shopping. Guessing the “shopping” part is meant to make this gadget sound appealing. [AP]
Wanted: Non-profit in need of 250,000 transparencies and slides documenting really important art and artists. Truck not provided. [The New York Times]
“Stuff on Stuff on Stuff: The Game” lets you “stack stuff on stuff.” It’s like Tetris, or the lesser-known office favorite Trash Panic. And it’s free and cross-platform, so everyone can play. [Chris Collins]
N+1’s MFA vs N.Y.C. gets a review in the Times. In this case, MFA students are writers either slogging away on a novel so they can secure a cushy tenure track position at a university, or trying to make a name for themselves in the city. Lots of stuff here similar to visual arts. (And Paper Monument gets a nod!) [The New York Times]
Helen Hughes discusses the ugly business of Transfield, a major sponsor of the Sydney Biennial, and a private corporation that handles the processing and care of Australian prisoners. They break all kinds of international human rights laws and national obligations as laid out in the 1951 Refugee Convention, so calls for protest have been made. But will a protest of their sponsorship have any effect at all? Hughes argues that if the protest is aimed at both government policy and its privatization of these services, plus leverages the grace of expression of arts professionals, they might get somewhere. [Frieze]
Today’s $88,000 painting for sale on Craigslist. [Craigslist]
Cait Munro chats with two of the 2014 Whitney Biennial curators, Anthony Elms and Michelle Grabner, about what to expect when the show opens next week. Each curator has a floor to themselves, and Grabner chose to include more artists than the other two curators. So we’ll see fewer work from her artists. [Artnet]
Kevin Lau Chun-to, the recently dismissed editor-in-chief of what many regard to be the remaining independent newspaper in China, Ming Pao, was attacked with a knife this morning while walking from his car. [The New York Times]
Klein Artist Works is a 12-week online course that empowers artists by demystifying the art world via a series of live webinars with 25 art world experts (gallery owners, art critics, museum directors, curators, art consultants, successful artists, and others).
The course consists of 2 one-hour-long, live webinars every Monday evening and provides both group sessions and one-on-one counseling to introduce artists to powerful information from an array of the world’s top art professionals. Everyone gets personal attention and individualized assistance with strategy and artist statements, and a real or virtual studio visit.
G. Wayne Clough, the Smithsonian secretary who censored the 2011 “Hide/Seek” exhibit on queer portraiture, has finally resigned. An independent curator of the exhibit told the Washington Post that Clough’s “tenure represents one of the last links to an older model of the way museums relate to the lesbian and gay queer community.” But, as Tyler Green points out, the Post itself minimizes Clough’s censorship by burying the story and mislabeling “Hide/Seek”‘s many defenders (including MoMA) as simply “gay activists.” [MAN] [The Washington Post]
“The Art world is the new music world,” Swiss Beatz said at a carnavalesque opening for the Galerie Perrotin on Tuesday, when the Parisian gallery (the supposed “French Gagosian”) set up shop on Madison Avenue. The afterparty, held at the Russian Tea Room, was an art-world carnival of Damien Hirst spin-art booths and crane-clawing for Murakami plush toys. “Our collectors are in the center of the art world, and you always have to surprise them,” said Mr. Perrotin…“People need pleasure” [New York Times]
If you missed it over twitter, yesterday was #AskaCurator day, in which twitter took its questions to 622 museums worldwide. Hyperallergic has a list of questions which should have been better addressed, most of them about the museum world’s enduring whiteness. [Hyperallergic]
The same questions have been raised perennially by John Powers, and specifically last week on NPR by Deborah Solomon. “This is an art season that could make you think that the feminist movement never happened,” Solomon noted, in reference to an excess of retrospectives for creepy white males (Burden, Balthus, Magritte). Walter Robinson put the question to facebook and points to John Powers’ 2011 proposal for an art world Title IX program, the 1972 law illegalizing gender discrimination in higher education. He thinks it’s worth a shot, and so do we; more on that to come. [John Powers; Deborah Solomon; Walter Robinson]
The gender situation, at least, looks a little better in Chicago, based on NewcityArt’s Art 50 round-up. In the institutional department, Madeleine Grynsztejn and Michelle Grabner lead the pack. [Newcity]
TONIGHT: Pin-Up and Gayletter host the afterparty for the Art Book Fair preview, near PS1. Expect this to be packed. [Gayletter]