As many of you in the art community know, there is a mega-show in Sunset Park opening to the common public. The show, titled “Come Together: Surviving Sandy,” presents itself as evidence of the resiliency of the New York’s artists and their communal solidarity in the face of Hurricane Sandy.
Arthur Bispo do Rosário, "Vinte e um veleiros", courtesy of the V&A
There’s something about outsider artists that eludes insiders, postulates Sarah Boxer as she nears the end of a trend piece on outsider art rise within the art world. I’d suggest it’s something a little more simple; some of us need a break from the unending stream of contemporary art shown at fairs, biennials, and triennials. –PJ [The Atlantic]
A massive Pre-Raphaelite mural was discovered at the William Morris house in London. The mural’s briefly mysterious subject matter was revealed by an explanation offered up on Twitter. [The Guardian]
A Prezi-style map documenting the real estate changes that occurred under Bloomberg hit the front page of the Times this weekend. [The New York Times]
There’s also a bunch of two minute videos featuring notable New Yorkers weighing in on Bloomberg’s legacy. [The New York Times]
This month, n+1 debuted a new, evil-themed edition. So far, I’ve heard rave reviews about Chris Kraus’ “Kelly Lake Store,” a failed Guggenheim application for revitalizing a corner store in Hibbing, Minnesota. My issue hasn’t arrived in the mail yet, but I found an earlier, shorter version of Kraus’ application over on The Brooklyn Rail. I haven’t found the “evil” part yet. [n+1, The Brooklyn Rail]
Gregory Kloehn, a Brooklyn resident, has converted a dumpster into what amounts to a 1970s camper to serve as his apartment. [F’d in Park Slope]
73-year-old Chinese immigrant Pei-Shen Qian has been caught at the heart of an $80 billion dollar forgery scandal. The Woodhaven, Queens resident has been accused of painting fake Modernist masters, which were then sold by Long Island dealer Glafira Rosales to the Upper East Side’s Knoedler Gallery. [The New York Times]
Ever wonder why lobster remains an expensive item at restaurants when its wholesale value has been plummeting? Your answer here. [The New Yorker]
In the 1960s and early 1970s, art and politics were peas in a pod. For die-hard critics like Barbara Rose, who lived through these decades in New York, that was the time to be alive. Art was good then, and now it sucks. Well, that’s how her argument goes, which which she makes in the pages of this month’s Brooklyn Rail. We disagree.