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- Michael Kimmelman writes a deliciously astute take on the latest gated community in Manhattan, Hudson Yards:
New York politics and real estate are notoriously akin to “Rashomon.” Any verdict on an undertaking as costly and complex as Hudson Yards depends on one’s perspective.
For its advocates, the $25 billion development is a shining new city ex nihilo, a wellspring of future tax revenues and evidence of a miraculous, post-9/11 civic volte-face. They note how the project sailed through the public and environmental review processes, winning neighborhood approval partly because at the time it seemed better than an earlier proposal to erect a sports stadium on the site, partly because it was conceived when New York still feared for its economic future and lagged, in terms of Grade A office space, behind global competitors like London.
… The terms du jour are corporate welfare or socialism for billionaires. City officials sold Hudson Yards to New Yorkers as a self-financing venture. That’s not what it may sound like. The city and state provided tax incentives and poured billions of public dollars into an extension of the No. 7 subway line and into acres of open space around the yards — investments presumably benefiting everyone, which the project is supposed to pay back by increasing New York’s GDP.
The seed of Nazism’s ultimate objective—the preservation of a pure white race, uncontaminated by foreign blood—was in fact sown with striking success in the United States. What is judged extremist today was once the consensus of a powerful cadre of the American elite, well-connected men who eagerly seized on a false doctrine of “race suicide” during the immigration scare of the early 20th century. They included wealthy patricians, intellectuals, lawmakers, even several presidents. Perhaps the most important among them was a blue blood with a very impressive mustache, Madison Grant. He was the author of a 1916 book called The Passing of the Great Race, which spread the doctrine of race purity all over the globe.
Grant’s purportedly scientific argument that the exalted “Nordic” race that had founded America was in peril, and all of modern society’s accomplishments along with it, helped catalyze nativist legislators in Congress to pass comprehensive restrictionist immigration policies in the early 1920s. His book went on to become Adolf Hitler’s “bible,” as the führer wrote to tell him. Grant’s doctrine has since been rejuvenated and rebranded by his ideological descendants as “white genocide” (the term genocide hadn’t yet been coined in Grant’s day). In an introduction to the 2013 edition of another of Grant’s works, the white nationalist Richard Spencer warns that “one possible outcome of the ongoing demographic transformation is a thoroughly miscegenated, and thus homogeneous and ‘assimilated,’ nation, which would have little resemblance to the White America that came before it.” This language is vintage Grant.
- Organizers of 2019 Venice Biennale announce its exhibition title as May You Live in Interesting Times, as ‘an ancient Chinese curse,’ while acknowledging the attribution is false. One Hong Kong arts professional is denouncing it as a disgrace:
The closest approximation in Chinese literature to this misattributed quote is a phrase from a Chinese opera composed sometime between the 12th and 14th centuries which observes that one would be better off being a dog in peaceful times than a man in times of chaos.
… However, Costinas, despite having seen that the curator is using the title ironically, still thinks organisers should not have made the “blunder” of calling it an ancient Chinese curse on the official website and in a widely disseminated press release, since this inadvertently promoted the phrase as “an Orientalist trope.”
- Carolina Miranda takes a close look at Arata Isozaki’s Museum of Contemporary Art building on Grand Avenue in Los Angeles, and sees some nice changes taking place:
It’s a common critique of the building. David Gebhard and Robert Winter, in their “Architectural Guidebook to Los Angeles,” sing the praises of the building’s design, but note that “the layout of the the museum seems a bit strange. The public galleries are approached down a flight of stairs … From the street, these stairs are hardly apparent.”
Much of this had to do with the museum’s infamously complicated site: a steep patch of Bunker Hill real estate that abuts the double-decker Grand Avenue. In addition, the museum rests on top of a parking structure to which Isozaki had to conform his column grid.
- A family just found a rare 15th-century Irish translation of an 11th-century Persian medical encyclopedia in the binding of an old book they own. It demonstrates more connections between Ireland and Muslim-majority realms than previously thought:
Ó Macháin hopes the find can help overturn some misconceptions about Ireland at that time in history. “Ireland was very much pre-urban, and we remained pre-urban until the 17th century,” he says, “but what people don’t understand is that there were great schools of learning here, including medical schools.” In these Irish medical schools, unlike those in England or continental Europe, students studied in Irish rather than Latin, creating a unique repository of medical knowledge in a vernacular language. Nic Dhonnchadha’s upcoming full translation of the manuscript will reveal some key differences between the Latin version and its Irish counterpart.
- A love note of sorts to Jane Jacobs and the power of women planners:
Too many people today claim they plan according to Jacobs’ precepts while embracing Robert Moses’ pursuit of big, bold visions. Jacobs, of course, thought big too, but in a different way from Moses – not big demolition and car-based projects but big physical and social infrastructure like mass transit and library systems or big urban networks of smaller components like interconnected neighborhoods.
In the 1993 introduction to the Modern Library edition of Death and Life, Jane questioned the widespread claim that her book changed the urban development field. Interestingly, she divided the world into foot people and car people. For foot people, she agreed, the book gave “legitimacy to what they already knew but whom the experts of the day deemed old fashioned and stopping progress.”
- According to Bloomberg, investors are losing money on overpriced Chinese contemporary art:
d’Angelique isn’t the only one suffering buyer’s remorse. More than 50 people have signed up to a private chat group on Facebook for AFG clients that she created. Interviews with more than a dozen other AFG clients tell a similar story. The average price they paid per painting was about $25,000.
AFG’s website says it has served more than 1,000 clients. In an e-mail exchange, AFG initially said the company’s founder, Jeremy Kasler, would give an interview, but then said he would respond to written questions instead. On receiving the questions, the company said he was too busy to respond. In response to two subsequent emails, the company said there was no one else available to address the questions.
AFG isn’t the only company in Hong Kong offering to sell and then lease art. Elliot James & Tyndal also sells Chinese contemporary art with promises of an 8 percent return for two years, said Divine Fung, who bought one of their paintings after getting cold called by a sales representative. The company did not respond to emailed questions.
The Museum of Modern Art (MoMA) will complete its $400m expansion this fall; last year it was engaged in drawn-out contract negotiations with employees at both its Midtown location (who are also represented by Local 2110) and at PS1 in Long Island City. On the West Coast, the reality of a $305m redesign rallied workers at the San Francisco Museum of Modern Art (SFMoMA) who are organised with OPEIU Local 29. Nat Naylor, a representative for the union, called bargaining with management after the 2016 reopening of the museum “painful… They were trying to seek savings on the cost of reopening on the backs” of the staff members, she says.
The issue isn’t confined to the US. Just after the Vancouver Art Gallery revealed the final design for a new $350m building, almost 200 of its unionised employees went on strike over wages and working conditions. They protested for a week before securing a new contract.
- Can you imagine having a doctor who thought telling a family their loved one was dying via a video link was alright?
Last Monday, doctors at the hospital conducted tests to assess the state of Quintana’s lungs. That evening, Wilharm told her mother and grandmother — Quintana’s wife of 58 years — that the pair should go home and get some rest.
Soon after a robot with a video screen came into the room, accompanied by a nurse who remained silent. A doctor on the screen began speaking to them.
Wilharm said she had no idea who the doctor was or where he was located.
She filmed the interaction on her phone as the doctor relayed the results of her grandfather’s tests.
In the footage viewed by CNN, the doctor on the screen tells Quintana, “Unfortunately there’s nothing we can treat very effectively.”
- The funny story of an Illinois mayor who is being memed as a Cardi B look-a-like:
An SFMOMA exhibition raises questions about what it means when museum board members have ties to politicians who support border wall policies.
The exhibition at the Jewish Museum delves into “degenerate” art and art made under duress as part of a thought-provoking yet diffuse exhibition.
In Philadelphia, a series of solo shows delves into the interdisciplinary practices of graduates whose work explores identity, familial bonds, political constructs, and nature’s fragility.
Despite his work’s apparent abstraction, Sheroanawe Hakihiiwe insists that “I don’t invent anything, everything I do is my jungle and what is there.”
David Uzochukwu, Kennedi Carter, and Kiki Xue are among the 35 artists whose work will be displayed online and at the festival in Milan, Italy.
On November 14, join Columbia University School of the Arts for virtual information sessions with the program chair, faculty, and staff.
No Vacancy, curated by Jody Graf, will be on view from October 26 through November 8 at the school’s Kellen Gallery in New York City.
To do so before they have returned the Maqdala treasures and the Benin Bronzes and the Easter Island statues and the Maori heads, before a coherent set of precepts for decolonization has been articulated, would affirm the wrong principle.
“Everybody in Mesopotamia, as far as I understand it, believed in ghosts,” said Irving Finkel, a curator of the British Museum’s Middle Eastern department.