Artist William Powhida has devised a power grid, a la New York Magazine, called, “If These Walls Could Talk – A Conversation” (2011) that will soon be going on display at the Charlie James Gallery in LA (February – April, 2011). It will also be part of the Marine “art salon” in Santa Monica, whatever that means. See the whole image much larger so you can read the text on his blog.
The New York Observer has a fascinating post about the new beast called the “professional collector.” Writer Anthony Haden-Guest explains, “collecting right now as having morphed far from its gloriously obsessive origins.”
“Good Future, Bad Future: on the Unauthenticated Avant-Garde” over at Idiom is a good read and it tackles the fascinating question, “Can an art experience be authentic even if the status of the work of art remains questionable?” I will say that I do cringe at some of the language, like “advanced capitalism” or “bourgeois,” both of which sound like something more related to the 19th or 20th Centuries rather than today.
NEA head, Rocco Landesman, is saying something few people in the arts want to hear, “You can either increase demand or decrease supply,” he said. “Demand is not going to increase, so it is time to think about decreasing supply.” In other words, brace yourselves.
Over at the Brooklyn Rail, publisher Phong Bui interviews the ubiquitous Joe Bradley. The interview goes beyond a typical Rail interview in that is probes more personal aspects of Bradley’s life, but does it enlighten his work? You be the judge.
And over at Art:21, there are some meditations on Black History, including discussions of the work of Kara Walker, Ellen Gallagher, Fred Wilson, and Kerry James Marshall.
Finally, as a curious aside, which really isn’t about art but is worth a look nonetheless, is this post about efforts to digitize all of Icelandic literature. The surprising thing is that the post mentions that the total literature of Iceland is under 50,000 books. Who knew. hat tip Joanne McNeil
Plaintiff Cheri Pierson accuses the disgraced financier of a “brutal” sexual attack at the Manhattan mansion of Jeffrey Epstein.
At the heart of What if the Matriarchy Was Here All Along? is the idea that matriarchy never really died but rather has transformed.
Larry Towell’s images reveal a little-seen, isolated world and raise questions about the unforgiving impact of tradition on families.
Mexican photographer Alfredo De Stefano’s photographs of barren deserts and other works reflecting on the climate crisis will be displayed in a not-for-sale section.
SCAD’s booth at Design Miami/ features glazed tiles by alumni artists Nicolas Barrera, Lauren Clay, Gonzalo Hernandez, Cory Imig, Abel Macias, and Nikita Nagpal.
Whether Musk’s weird still life post was an act of trolling or an act of cringe is up to you, but the memes speak for themselves.
For roughly half an hour, art collectors had to consider a world in which they didn’t get that Alex Katz work.
Join the New-York Historical Society on December 9 for a virtual conversation with Kellie Jones, Rujeko Hockley, and Cameron Shaw on the past, present, and future of Black art in the US.
From art fairs to alternative spaces that may not be on your radar, here’s a run-down of what to see (and eat and sip) in Miami. No NFTs, we promise.
Protests are erupting across the country in response to President Xi Jinping’s strict zero-COVID policy.
The unique MFASA at the Institute of American Indian Arts offers mentorships with world-renowned Indigenous artists, flexible schedules, and access to one of the US’s cultural capitals.
What does it mean when the world’s richest person trolls us?
Ghenie’s paintings of Marilyn Monroe are a relentless representation of a howling, turbulent tragedy, a face broken into crude sideways slewings and gougings and gorgings of paint.