Currently featured as part of the New Museum’s First Look: New Art Online series, Miao Ying’s “Chinternet Plus” takes on Chinese web censorship, corporate aesthetics, and propaganda with the power of .net art.
Thankfully, the next few days aren’t as stressfully-packed with events as Frieze Week was. But we’ve picked out a handful of options if you’re still hankering to see some art. Tuesday night, Matt Bolinger’s solo show opens at Zurcher Gallery, featuring cinematic paintings of Middle-American life. Wednesday, rising art-star Kour Pour opens a new exhibition at Feuer/Mesler that looks to be a new direction for the painter. Thursday is a big night for fans of drawing: David Nolan Gallery has a Jorinde Voigt show and The Drawing Center is offering a Josef Albers-inspired workshop.
The weekend is when things get weirder. Christopher K. Ho’s solo exhibition at Present Company looks at aging, “art dads”, religion, and more Friday night. At the same time, Invisible Exports is opening Frida Smoked, a group show about women artists and their cigarettes. Saturday, Rhizome’s annual Seven on Seven conference will present collaborations between tech insiders and artists and Underdonk will open an ambitious group show of tiny sculptures from dozens of artists. Borna Sammak’s solo show also opens at American Medium that night. But Sunday sounds like it will be the most fun—Hyperalleric has organized a walking tour of artist’s graves in Green-Wood cemetery, so go enjoy the partially-sunny outdoors after a rainy weekend.
An important internet art archive will soon shutter. Turbulence.org, an online project that has commissioned new net art and networked hybrid artworks since the mid-1990s, announced over the weekend it would be going offline on December 31, 2016.
According to the announcement — made via a mass email to past and present artists, as well as in a public Facebook update — the organization can no longer sustain the operating costs needed to maintain its online archive.
We’ve been following NEW INC since it’s founding in 2014. An arm of the New Museum design to offer professional development opportunities to creatives in all fields, NEW INC offers a much-needed support model. Now, two years in and newly accepted applications for its September 2016-2017 term, how’s the non-profit doing?
“One thing that has been unique about NEW INC and incredibly important to our mission is that it’s not a one-size-fits-all community or approach to the idea of entrepreneurship,” says Julia Kaganskiy, NEW INC’s director, in an email interview with AFC. “We believe that even an individual artist or designer in the program is an entrepreneur — a business of one.”
Eric Turquin in front of “Judith Bheading Holofernes”
The FBI is now offering a $25,000 reward for information in the Warhol “Soup Can” heist from the Springfield Art Museum. Whoever the thief is, they’re either dumb or extremely picky. The set of seven “flavors” stolen will be substantially less valuable without the three left behind: pepper pot, cream of mushroom and consommé (beef). [Inquisitr]
Alan Lupiani checks in on Natural Disruptions, a collaborative mural-based project in Brooklyn’s Prospect Park led by artists Mark Dorf and Anthony Goicolea. [Hyperallergic]
A long-lost Caravaggio has been discovered in an attic in France. [New York Times]
Can we talk about how amazing the Brooklyn Museum’s Reanimation Library is? It’s collection prioritizing printed materials from the public realm with visual information, and is dedicated to being a resource “that inspires the production of new work”. (And yes, the image collection has been digitized.) [Reanimation Library]
Rich artist destroys his passport because he was pissed off with his work in the Sydney Biennale. [ARTnews]
Art Cologne launches its 50th iteration tomorrow. Here’s a brief history of the mother of all fairs, an event that drastically changed the course of the art world. [Deutsche Welle]
If there are any Wendy fans out there, get excited: Walter Scott’s sequel to his cutting art world satire will be dropping this fall. [Koyama Press]
Rhizome announces the collaborators for this year’s Seven on Seven conference. The artist/technologist pairings include Hito Steyerl with Aesthetic Integration co-founder Grant Olney Passmore, and Miranda July with Postlight co-founder Paul Ford. [Artforum]
The Ontario College of Art and Design University (OCADU) has announced plans for an ambitious $60 million expansion and renovation of their main buildings on McCaul Street, just south of Dundas in Toronto. Improvements will be made on the 1920s heritage building, George Reid House, and the famed Will Allsop-designed Sharp Centre for Design. So far, the Ontario government has chipped in $27 million toward the project, but OCADU will have to fundraise the rest. Not mentioned in all of this is what further “revitalization” we can expect in the Grange Park neighborhood: condos, perhaps? [Urban Toronto]
The “American Attitudes Toward Art” survey results have been released and there aren’t too many shockers. 44.3% of people aged 18-24 and 33.8% of people aged 25-34 use social media to discover new art, while people over 65 (at least 29.5% of them) prefer to discover new artists through museums. Based on the press release, be prepared for this report to inspire way too many online art-selling platforms to spring up to cater to millennials. News flash: we go to galleries too and we’re too broke to buy art. [Business Wire]
Richard Prince’s new show at Sadie Coles is a series of cartoon-inspired pieces depicting nudist culture. According to writer Catherine Sedgewick, they feature young, big-breasted women being pursued by lecherous old men in the context of hippie culture. Richard Prince, what are you doing? [The Upcoming]
What a week for New York City! From the small gestures aimed at pedestrians, like project space FOUR A.M. in the Lower East Side, to the triumphant return of Jack Early to Chelsea on Thursday night, we’ve got you covered on weeknights. Our very own Paddy Johnson will be speaking at NYU on Friday all about our favorite medium: GIFs. Be sure to pre-register for the event, which has a reception where you can say hi! Then, head to Bushwick for a night of group and two-person shows at neighboring artist-run spaces Tiger Strikes Asteroid, Transmitter, and Underdonk. Saturday, check out perpetual AFC fav Alex Ebstein’s yoga mat paintings at Ridgewood’s lorimoto. But Sunday might be the day that goes down as one of the weirdest and most fun in the city’s art history: Greater New York artist Hayley Aviva Silverman is mashing-up 1990s disaster cinema with 1830s literature for a theatrical production starring dogs. Let that singular experience marinate on your 35 minute M train ride to Chinatown Soup, where Joyce Yu-Jean Lee’s pop-up cybercafe promises to give us a glimpse of what the internet looks like in China (hint: very different) plus snacks!
New York-based new media non-profit Rhizome announced yesterday it was awarded a two-year $600,000 grant by the Andrew W. Mellon Foundation to build Webrecorder, a tool that allows users to archive the internet’s “dynamic content”.
It’s a big deal—the largest grant the organization has received in its 20-year history, and a signalling of the importance for institutions to steer the development of tech tools.
Revisiting the ‘Simple Net Art Diagram’, reviewing an art fair’s virtual tour, calling out Georg Baselitz, breaking news on the USC MFA Class, and even bringing back nerdocracy. Readers, we truly feel a real sense of accomplishment for the stories we wrote in 2015, especially after amassing them in a ‘Best of’ list such as this. We not only paid artists to attend art fairs, but also investigated sexism is arts publishing and even had two Renaissance cosmetics experts dish on body hair removal. Who else publishes this shit? No one.
80’s aerobics edited to Windom Earle’s Books on Tape – Super Dr. Lots of hip thrusting here. [YouTube]
Constant Dullaart has been named the recipient of this year’s Prix Net Art, a $10,000 prize for digital work awarded by Rhizome, Chronus Art Center, and Tsinghua University Art and Science Media Lab. [Artforum]
Developers in San Francisco must spend 1% of a project budget on the arts—either by commissioning an artwork or by contributing to the city’s Public Art Trust Fund. The problem is, nearly every developer opts to spend that money on artwork for building lobbies rather than contribute to the fund. Now, some consider the fund as a missed opportunity to address the city’s artist displacement crisis in the face of rising rents. [San Francisco Examiner]
Oh God, Sony’s new, free streaming television service Crackle is premiering its first original content: a serial drama about the artworld called “The Art of More”. It’s about an Iraq war veteran who graduates from looting the Cradle of Civilization’s antiquities to the sexy, debaucherous life of a major auction house, where he must navigate an obstacle course of art world clichés. Seems plausible, right? [Variety]
Good news/sad news: Paris museums reopened yesterday as details emerge about the victims of Friday’s terrorist attacks. German art critic Fabian Stech was killed in the Bataclan, as was 32-year-old French artist/professor Alban Denuit, music journalist Guillaume Decherf, 43, and the architect Quentin Mourier, 29. Moroccan architect and university teacher Mohamed Amine Ibnolmobarak, 29 was also killed in the attack on a nearby bar. [The Art Newspaper]
Here’s more information about Fabian Stech, 51, who wrote for Artforum and Monopol, specializing in contemporary Chinese art. [Monopol]
Relatedly, I can’t think of a more timely book than Bad New Days: Art, Criticism, Emergency, by Hal Foster. It’s a collection of art criticism that contextualizes writers’ responses to artworks with events contemporary to their writing: Hurricane Katrina, 9/11, etc.. reminding us that artwork, and the way we view and write about it, is never in a vacuum. [Financial Times]
Be still my heart! A new store, appropriately named Pigment, has opened in Tokyo. It’s walls are lined with 4,200 different pigments in glass jars along with other oil painting supplies. [Colossal]
The tears of joy emoji — 😂—has been chosen as the Oxford Dictionary’s word of the year. It beat out “lumbersexual”, “Brexit” and “refugee”. [The Washington Post]
It’s hard to imagine a better match then Will Cotton, painter of all things sweet and tasty, and Martha Stewart, the all star homemaker (and crook). Cotton painted Stewart for the cover of Martha Stewart Living this month. [Artnews]
Getting a lot attention: How Apple is giving design a bad name. According to this article, their products are no longer easy and intuitive to use—particularly on mobile. In my experience that’s definitely true. Anyone else tried the Apple watch? Great product, but the customization needs for this thing to even work are insane. [Fast Company]
How has technology impacted art? Whitechapel Gallery will be addressing this question in a landmark exhibition launching in January 2016. Entitled Electronic Superhighway (2016-1966), the show will bring together over 100 multimedia artworks from the past 50 years. Over 70 artists will be involved, including Nam June Paik, Cory Arcangel, Lynn Hershman Leeson, Hito Steyerl, Jeremy Bailey, Amalia Ulman, Douglas Coupland and Judith Barry.
The show is clearly a major coup for its curator, Omar Kholeif, whose rise in the artworld has garnered comparisons with Hans Ulrich Obrist. It’s an ambitious survey that is much needed in a genre still struggling for institutional validation. So, it’s concerning that a majority of the internet art represented in the show will come via the archives of new media non-profit, Rhizome. While Rhizome has substantially impacted collecting and preserving digital art works, they still only represent the perspective of one organization.