Posts tagged as:

Pedro Reyes

Marilyn Minter’s “RESIST” Flag Hoisted Over the Bowery Today

by Michael Anthony Farley on June 14, 2017

Look up on Bowery today (and for the rest of the month) and check out Marilyn Minter’s “RESIST FLAG”. It’s the first of many coming to Creative Time’s headquarters.

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Friday Links: Someone Stole this “Transformers” Sculpture in Queens

by Michael Anthony Farley on October 14, 2016

transformers

Someone stole the above “Transformers” sculpture from Long Island City artist Annalisa Iadicicco. Come on guys, she made it with children! [QNS]

Recently discovered cave etchings in Spain might date back 14,500 years and have been described as “the most spectacular and impressive” on the Iberian peninsula. [BBC]

Holland Cotter joins the chorus of (mostly) praise for Pedro Reyes’ “Doomocracy”. [The New York Times]

From an auction immediately following the artist’s death, to a price “correction” in the 1990s, and ending up for sale again today—here’s what David Bowie’s prized Basquiat painting tells us about the way the art market works. [artnet News]

“If you can’t get walk-in traffic, why be in Chelsea?” -Mike Weiss on the closure of his eponymous gallery. Apparently having your gallery in a 24/7 luxury condo construction zone has become too much to deal with. Wow, how many Chelsea galleries have closed this year? [ARTnews]

150 affordable housing units are available from $833 to $1,082 in what’s temporarily Downtown Brooklyn’s tallest tower. Applications close December 15th. [Curbed]

Simon Fujiwara’s latest video installation at the Photographer’s Gallery in London sounds bizarre. He’s created a sort of video portrait of Joanne Salley, the British art teacher who was forced to resign after students discovered a thumb drive containing her topless selfies. The video shows an idealized/banal version of her life. [The Guardian]

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Monday Links: Don’t We All Want a Dyke for President?

by Michael Anthony Farley on October 10, 2016

i-want-a-dyke-for-president

Zoe Leonard’s 1992 poem “I Want a Dyke for President” is justifiably having a moment. The piece has been blown up and installed underneath the Standard Hotel, and has recently gone viral as a video featuring Mykki Blanco reciting the poem. Basically, we have the two most unpopular major-party candidates ever, and “I Want a Dyke for President” sums up so many frustrations. [The Creators Project]

After jilted Marina Abramović collaborator Ulay was awarded a quarter million Euros a few weeks ago in the largest conceptual art lawsuit ever, Noah Charney tries to figure out just how much Abramović made and how. Unfortunately, he never really gets to the bottom of which works sold for how much and to who, but it’s a decent intro to the commodification of performance art. [Salon]

Creative Time director Nato Thompson describes Doomocracy as “less like hanging art in a museum and more like ‘putting on an opera at the Met.’” The Pedro Reyes installation spans multiple rooms of a derelict warehouse, and tackles issues from school shootings to climate change in the style of a haunted house. We can’t wait to see it. [artnet News]

Speaking of giant creepy abandoned buildings, this VICE documentary about Ohio’s sprawling “Ghost Malls” is amazing. Journalist Rick McCrank interviews photographers and ameature filmmakers who explore abandoned malls, and you come to realize how absurd and tragic the typology of the shopping center is—it’s the closest thing many suburbanites have to public/civic space, but since it’s privatized, its fate is tied to the whims of the market. [VICE]

Reflecting on Thomas Heatherwick’s $150 million “Vessel” slated for Hudson Yards, Aaron Betsky muses that spectacle-driven installation art has supplanted grandiose architecture as site of collective experience. I’m not entirely sold on that argument—the truth within that statement might have more to do with economics. It seems that the private sector is increasingly more likely to fund expensive art than the public sector is to fund expensive architecture. Most civic buildings are now designed by budget and zoning, but plenty of contemporary high-end private property still has a sense of whimsy (I’m thinking of Herzog & de Meuron’s cathedral-like Miami Beach parking garage). And many museums strive for both. [Dezeen]

Rob Goyanes is the best. Here’s his take on accelerationism, late capitalism, and environmental disaster as they manifest (/in) Miami. [Temporary Art Review]

An interview with East New Yorker Patrick Eug‎éne, who uses abstract expressionist painting to discuss gentrification. [PBS]

This is such a good idea. In many gentrifying cities, there’s paradoxically a surplus of school buildings due to closures or replacements. St. Louis is considering turning a former school into workforce housing for teachers. [Education Dive]

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What the Hell Happened at MOCA North Miami? A Timeline of a Trainwreck

by Michael Anthony Farley on April 23, 2015

What the hell happened at Museum of Contemporary Art North Miami?

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Friday Links: Cooking Blog Surprise

by Paddy Johnson Whitney Kimball and Corinna Kirsch on January 16, 2015

torpedo pears

A chronological history of Lifetime movies, from the Tori Spelling classic Mother, May I Sleep With Danger? to more serious fare like Angela Basset’s celebrity biopic, Whitney. Former executives from the channel discuss when certain genres, like “teens in jeopardy,” became popular. [Washington Post]
For those who don’t care about the Oscar snubs—here are the art nominees. Good Lord, Hyperallergic has reviewed them all. [Hyperallergic]
OMG. Shellac lead singer and songwriter Steve Albini has a cooking blog. [Mario Batali Voice]
Ben Davis has managed to make a convincing argument for Juan Muñoz’s Many Times at Marian Goodman, a feat I never thought possible. It’s a bunch of gray, laughing figures in resin cut off at the ankles. I always thought the work was boring, but Davis finds a little magic (a word he loathes) in the details. [artnet News]
Kehinde Wiley, Xu Bing, Mark Bradford, Sam Gilliam, Maya Lin, Julie Mehretu, Pedro Reyes, will be honored with the 2015 U.S. Department of State Medal of Arts. The award recognizes artistic achievement as well as commitment to the government-sponsored program Art in Embassies. [ARTnews]
A review of the Riot Grrrl exhibition Alien She from a former riot grrrl. Critic Melissa Miller ends up writing a mostly positive review, but points out a necessary issue with any historical exhibition: “The drawback to this approach, however, is that it presents Riot Grrrls with one voice, with a ‘we’re all in this together’ attitude.” [Art Practical]
☆♕ A Grecian Inspired Roleplay for ASMR ♕☆ [YouTube]
Beefy Mortal Kombat monsters, but with the female victory dances, like pole dancing. Aside: holy shit, Mortal Kombat got gruesome since the 90s. [YouTube via Metafilter]
Wow, France’s Culture Minister Fleur Pellerin has promised Charlie Hebdo €1 million in funding to keep it running. Now the Pompidou and several other arts institutions are launching Charlie Hebdo-related shows and awards. [artnet News]
Critic Martha Schwendener reviews Tyson Reeder’s current show at CANADA (which we like), and fills her review with a total of seven textbook-friendly artists to compare Reeder: Matisse, Bonnard, Renoir, Bonnard, Isamu Noguchi, and Andreas Gursky. You can talk about art without having to namedrop; like, you could talk about the art. [New York Times]

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Hans-Ulrich Obrist’s New Do It Video Tells You to Do It With Social Media

by Corinna Kirsch on April 29, 2014

But why should we do it?

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Monday Links: New Developments

by Paddy Johnson and Whitney Kimball on March 18, 2013

“His career as a New York City taxi driver began with a graveyard shift, a creative itch, and a brazen interpretation of privacy laws.” The New York Times’ Matt Flegenheimer follows up our story on artist Daniel Wilson’s cabby project. Described briefly: Wilson secretly recorded the conversations of his passengers and played the audio collage he made in the cab while he drove people to The Armory last week. Flegenheimer’s account includes a minor fender bender. [NY Times]
Guns sound like flutes, as we heard this morning from artist Pedro Reyes’ gun orchestra. “It’s a spread that would make a cartel boss blush,” remarks Kurt Anderson on Studio360. [Studio360]
A profile on Mike Kelley that includes his last days before committing suicide. Tragic. [WSJ] h/t [c-monstah]
Christopher Knight dubs the LA-MOCA-National Gallery of Art deal a “big, fat nothing-burger.” All this deal making is a result of MoCA being cash-strapped, a mind-boggling issue for an institution whose board includes some of the richest men in the world. [L.A.Times]
Tina Roth Eisenberg (AKA Swiss-Miss) gave a talk last week at #SXSW on her many projects, one of which includes Teux Deux, a to-do app. Roth Eisenberg expressed some frustration today over twitter about push back from users who were accustomed to using the app for free and now have to pay for it. We want her to know that her talk convinced us not only to use the app, but the importance of charging for projects you want to maintain. [Teux Deux]
In internet freedom news, the WSJ’s L. Gordon Crovitz is offending people with his piece “Aiding the Enemy Isn’t Journalism.” In it, he claims that both Bradley Manning and Julian Assange should be charged for aiding the enemy with wikileaks. What? The Freedom of the Press Foundation has run a piece correcting factual errors in Crovitz’s piece. [FoPF]
If you’re behind on the Wikileaks story, “Captives of the Cloud,” part 1 and 2, is a lengthy but essential primer. [e-flux]

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Why the Independent Art Fair Works

by Whitney Kimball on March 9, 2012

The Independent Art Fair's great gift: eye contact. With vast ceilings, large windows, and no cubicle-style booths, people aren’t constantly scanning the room behind you to locate James Franco. This means no angry smiles, no high-speed nodding, and no cracked-out active listening. The tone is friendlier. Admission is free, and light is ample. Much of the work is genuinely interesting. Open space literally translates an air of transparency; though this is still no place for an art experience, it feels closer to an exhibition than a department store.

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Pedro Reyes

Monday Links: New Developments

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