- Trump likes an Abdullah Al-Othman photograph of a former Islamic shelter for widows and divorced women wrapped in tin foil (all housing should be gilded?). This is one of the precious few details from Trump’s tour of the Saudi contemporary art scene, one of the lesser discussed sideshows from the circus that is his middle east visit. [The Art Newspaper]
- An AFC alumn bring us a surprisingly fascinating read: Whatever happened to the Gilded Age art stars? They made fortunes during the first art market boom over a century ago, but were largely forgotten in the art history canon, having been overshadowed by their broke-ass impressionist contemporaries. [artnet News]
- Following last week’s deadly crash in Times Square—in which Richard Rojas seemingly deliberately ran over dozens of pedestrians—and numerous similar ISIS attacks, Alissa Walker wonders why the city doesn’t just fully close Times Square to cars. It turns out that would be great, but difficult with the existing traffic patterns in Midtown. Suggestions include a Barcelona-style “superblock” configuration or London-style congestion pricing. I say just ban the damned things from Manhattan entirely. [Curbed]
- Bjork has launched a virtual reality art exhibition at The Magic Box at The Reef in Los Angeles. She describes the various VR experiences as another way to “reach intimacy” with her listeners. [Variety]
- This is really cool. The Chattahoochee Valley Art Association converted a small town Georgia jail into an art museum in the 1970s. It’s still in operation (as a museum, not jail) today. [Ledger-Enquirer]
- I wish so much of Ai Wei Wei’s art wasn’t straight up terrible. 175 lego portraits of activists and free speech advocates sounds very contrived. It will launch at the Hirshhorn in June—I’m not excited about this. [The New York Times]
- Turmoil at the Brooklyn Rail. Late last week the publication announced that its board of directors, “day-to-day senior staff and six additional full- and part-time staff members” would part ways. Now, Phong Bui, the publication’s publisher is saying that he has replaced the board and enlarged his staff. Really? That’s a lot of change in a week. [artnet News]
- Renzo Piano (architect of The Whitney’s new digs) designs the best exhibition spaces. Here he’s hidden a gallery in the landscape of a French vineyard. Perhaps a less obtrusive exterior than many of his other projects? [Dezeen]
- According to this report, there’s plenty to see in Washington Galleries this month. Arte Povera, minimalism, representation and lots of artist names we haven’t heard before. It might be time to make a trip. [The Washington Post]
- Liz Hirsch looks at seemingly unrelated art world stories—from the unexpected closure of Andrea Rosen to the digitization of museum collections and the formation of the Congolese Plantation Workers Art League—and makes the compelling argument that Trump’s presidency and the increasing concentration of capital and power are changing the game. Even as geopolitics become more nationalistic, culture is globalizing and institutions and artists will find new networks to distribute ideas and information. [ARTnews]
The Plot Thickens: A Personal Account of Industry City’s Bid to Take Over Sunset Park
by Erik Gonzalez on October 21, 2013As 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.
This presentation is insidiously disingenuous.