Michael: I like this collection of small shows because it’s like a survey of what’s hot on the NADA circuit without being as polished or obnoxiously-soul-less as an art fair. (How sad is it that art fairs now feel like the default art-viewing point of reference?) Houseplants! Oversized clothes! Cartoonish vaginas! These are all trends we’ve talked about before, and they’re all trends I’m 100% on board with. Whitney: I think it’s safe to say by now that plants are no longer a trend; they are a medium (except for potted palms).
In this increasingly heated primary contest, two of the issues that impact our readers most haven’t exactly been hot-button topics. Candidates rarely discuss funding for the arts or affordable housing in the nation’s rapidly-gentrifying cities.
New Yorkers head to the polls Tuesday, April 19th, and the art school meccas of Providence, Baltimore, Philadelphia, and New Haven will be casting their ballots one week later, on April 27th. The Democratic race for New York has been especially tense, with the April 14th debate at Brooklyn Navy Yard looming on the horizon. How in touch are the candidates with issues pertinent to our readers? For starters, neither one knows how to ride the subway. But both have been staunch advocates for the arts and make claims that they’ll tackle the nation’s affordable housing crisis. I’ve done some digging on how their records on those issues stack up.
I think I’ve said this before, but it will never cease to amaze me how much reporting on the art world is indistinguishable from a Saturday Night Live Stefon sketch. On Art Basel Hong Kong parties: “…artists Wu Tsang and Boychild got inked at the henna station and wrapped up at the turban giveaway. On the invite, guests were told to wear ‘jodhpur blue or pink.’” [W Magazine]
Looking for the hottest party where art-world a-listers go to evade taxes and rent back their own collections? Then check out an “irrevocable trust.” To get in, just try to understand how any of these loopholes work. [The Wall Street Journal]
The number of full-time forensic artists is dwindling. This is a pretty interesting peek at how those police sketches get made. [NBC 10 Philadelphia]
A new exhibit at the German Historical Museum in Berlin features Holocaust-era artwork made by survivors. [NBC News]
Philadelphia collective Fjord is running an indiegogo campaign to launch their reopening. They’re one of the strongest spaces in the Philadelphia scene—connecting critics, artists, and curators from various cities so this is an important organization to support. [Indiegogo]
At least two art writers are getting into running—AFC’s Paddy Johnson and the L.A. Times Carolina Miranda. Unlike Johnson, who prefers to run the same four or five routes, though, Miranda has made a food adventure and feature story out of her runs. This requires being unafraid to sit in a public place after having spent more than an hour sweating. Anyway, she’s compiled some impressive food and sightseeing attractions around L.A. [The L.A. Times]
But if you’re going to mix running with eating, make sure your post-workout snack is actually food. Thousands of marathon runners mistakenly ate bars of fruit-scented soap in gift bags this weekend after thinking they were energy bars. [Death and Taxes]
ISIS/ISIL/Daesh/whatever has finally been driven out of Palmyra by Russian and Syrian troops. Now, historians and preservationists are trying to take stock of the mess they left behind. Thankfully, it looks like the damage to the city’s ancient Roman ruins wasn’t as bad as everyone feared. [The Art Newspaper]
The city’s housing inspectors are cracking down on artists in McKibbin lofts who have illegally subdivided apartments for Airbnb. [The New York Post].
The National Museum of African American History opens in Washington this September and there’s already controversy. In an exhibition devoted to pioneers in entertainment, Bill Cosby is included, but without mention of the dozens of women who say he sexually assaulted them. The historical narrative ends not with President Obama — an uplifting note — but rather the injustice and unrest that have defined the Black Lives Matter movement. [The New York Times]
AFC editors take panels by storm; Academy Award nominee Laura Poitras speaks at Artists Space; and the first U.S. retrospective of “one of the most prominent artists working in Southeast Asia” comes to the SculptureCenter.
The Jo-Mar warehouse was issued a stop-work order for violating building, electrical, plumbing, and zoning codes. As a result of these issues, Shift Capital did not have a certificate of occupancy, which made any occupancy illegal.
In the Bronx rests one lonely castle without an owner. It’s for sale, awaiting a buyer. [Daily Intelligencer]
Rhizome has been on a roll lately; Michael Connor’s latest essay on “postinternet” gives us another reason to ponder the term’s potential use or uselessness. It ends with a really touching, personal note from Connor, who writes: “I wanted to write this text in a way that would appeal to olds like me.” [Rhizome]
How not to run an art auction, brought to you by the Jan Krugier Estate and Christie’s. Before Monday night’s auction, it was generally assumed that many of the estate’s Modernist paintings were overpriced, and suffered from overexposure; many had been circulating in the market, however unsuccessfully, for years. [The New York Times]
Artspace interviews Performa founder Roselee Goldberg. On acting like an art historian: “I’m always trying to expose the history of performance and tell the [Performa] artists about it, because, really, a lot of people don’t know the history very well.” Okay. On the Internet: “The Internet, on the other hand, is keeping people out of the galleries—I’m hearing that from different writers, and I think it’s very real.” That’s kinda not true, but fine. [Artspace]
A story of gentrification: Since its development in 1993, Philadelphia’s “Avenue of the Arts” has caused real estate prices to jump by nearly 1,300 percent. [The Philadelphia Inquirer, via Arts Journal]
Luck does not smile broadly on musician Questlove. After six months, his Chelsea Market fried chicken stand has shuttered. We blame this on location, location; Chelsea Market-goers like raw juice, not chicken buckets. [Eater]
A juicy summary of SAC’s guilty plea to all five counts of insider trading violations and pay a record 1.2 billion dollar penalty. This, in addition to $616 million in insider trading fees SAC agreed to pay the Securities and Exchange Commission, and a host of legal fees. According to The Times: “Guilty pleas by financial institutions are exceedingly rare, and legal specialists say the case against SAC could embolden prosecutors to bring criminal charges against other firms.” [Dealbook]
Creative Time Summit begins today. Twitter hashtag #ctsummit and livestream feed here: [Creative Time]
Christopher Wool at the Guggenheim gets a lukewarm review from Roberta Smith. Yawn. Christopher Wool. [The New York Times]
Four shows to see in Philadelphia. The Barnes, Kaws @PAFA, Eugene Von Bruenchenhein, Fleisher/Ollman Gallery, Mario Ybarra, and The Fabric Workshop and Museum. [Hyperallergic]
All’s been quiet on the Jori Finkel front. Months after the Los Angeles Times laid off Finkel, the publication’s last reporter dedicated to the visual arts, it appears she’s started covering the California museum beat for The New York Times. This week, she discusses the de Young Museum’s new VIP rate for the upcoming Hockney exhibition. [The New York Times]
“Right now, Whiteread is the most famous artist in Britain.” [Frieze Magazine]
The Metropolitan Museum of Art has renegotiated its building’s lease with the city of New York, with one potentially divisive amendment: the museum now has the ability to change their admission rates without the city’s approval. [In the Air]
Second year Central St. Martin’s art student Clayton Pettet is giving up his anal virginity on stage for an art exhibition. “The key thing about performance art is that it should only be performed once, and this is the ultimate once-in-a-lifetime performance,” he told reporters. Not sure who told him that performance is a one-time gig. [Gawker]