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sothebys

Tuesday Links: Temporary Tattoos and Fugly Fabrics

Artist Menja Stevenson wearing a dress to match the bus seats. Photo courtesy of the artist.

Mind blown: the Olympics used to have medals for the arts!?! They stopped doing this in 1948, but how cool is that? [The Huffington Post]
If you want to watch the Olympics in virtual reality, you can, if you care about sports, own a $99 Samsung Gear headset, and download an app. [USA Today]
So the European Union has ruled that Dan Flavin’s sculptures are indistinguishable from light fixtures, and as such should be taxed at 20 percent, rather than the 5-percent rate for artworks. What? [The Guardian]
This cat is having a no-good, existential crisis kind of day after ripping up a balloon. [Imgur]
In our email inboxes: a note from SFMOMA that you can now purchase museum tickets online through January 2017. Are the lines really so long that tickets must be sought out so far in advance? Or does this just mean that museums are going the way of airlines, letting you plan out your vacation far, far in advance? [SFMOMA]
The Jewish Museum launches its first Kickstarter campaign today. The museum has set a goal of $30,000 for their fall exhibition, Take Me (I’m Yours), which will let visitors bring home artist-produced takeaways, like temporary tattoos by Lawrence Weiner or air dispensers (not sure what that will look like) by Yoko Ono. 400,000 of these small editions will be made in total. [Kickstarter]
Despite market turbulence, Sotheby’s actually saw an increase in year-to-year profits. This is mostly due to cost-cutting within the auction house. Sotheby’s CEO, Thomas Smith, identifies “a paradox” wherein there’s still demand from collectors for high-value works in a financially uncertain time, but that sellers are holding out and restricting sales volume because they believe this isn’t the best time to sell. Dear collectors, please consider putting more of that pent-up purchasing power into the primary market. [Business Insider]
Today marks the two-year anniversary of Michael Brown in Ferguson, and with it, the growth of #blacklivesmatter. [The Root]
This piece about why fabric on public transportation is so ugly is surprisingly a really interesting read. It even touches on the work of artist Menja Stevenson, who dressed herself to match different transit lines. [BBC]

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Wednesday Links: Tiffany Trump’s “Music” Discovered, Larry Gagosian Pays Taxes

by Paddy Johnson and Michael Anthony Farley on July 20, 2016

Yet another art app no one asked for: Google Arts & Culture. It seems to do many of the same things as Artsy with an eye cast more toward art history. And users can visit architectural wonders using Google Cardboard. And of course, search for artwork by color. I’d try it myself, but my phone has limited space thanks to all the immovable, self-updating “bloatware” apps Google has already snuck on there. [The Next Web]

In other Google news, the tech giant asked artists Marina Esmeraldo and Mallory Heyer to make a mural using the dreaded Google Sheets app, seemingly to make accounting look cool? Congratulations Google, there’s now a wall in Brooklyn that looks like a Miami juice bar/Zumba studio, thanks to the fun magic of spreadsheets. [The Next Web]

Sales reports from the first half of the year are down for Sotheby’s and Christie’s. Both auction houses are seeing sales in the ultra high-end collapse, with Christie’s latest total down 37.5%. Contemporary art sales took a staggering 45% hit, totalling substantially less than a billion. The surprising news, according to Marion Maneker is that Europe nudged ahead of the US in terms of buyers. Also interesting: new buyers account for 25 percent of all sales at Christie’s. In any event, The Wall Street Journal is describing the report as bad news for the top end of the market and health in the middle market. Meanwhile the Art Market Monitor has used the statistic of new buyers to predict growth, and perhaps even a flashier market going forward. [The Art Market Monitor]

Queen is really pissed that the Republican National Convention used “We Are The Champions” on stage… especially after they already publically criticized Trump for using their music in his campaign. Though after Hillary’s AIDS comments earlier this year, it’s probably not a good idea for her to try to channel Freddie Mercury either. [CNN]

Here’s some music Trump can probably secure the rights to, but might not want to: his daughter Tiffany’s awful foray into auto-tuned trash pop. Listen now (if you dare) before the campaign gets this scrubbed from the internet. [Youtube h/t Mieke Gentis]

Erik Satie was really, really weird. But he might have invented performance art, and spent 8 days in jail for it. [Flypaper]

Concept art has been revealed for the upcoming Blade Runner sequel. Please, god, do not let them turn this into a CGI clusterfuck that looks like a video game. The original was so, so good precisely because of its practical special effect that still hold up compared to contemporary movies. [Shortlist]

Related: in this tribute to Star Trek actor Anton Yelchin, it’s revealed that they started making the latest of the terrible, terrible JJ Abrams reboots before having actually written a script. This film is directed by the same guy who brought us The Fast and the Furious…. A subtle joke from 30 Rock about a movie from that franchised being advertised as “Written by No One” now seems tragi-comically prescient. [Fox News]

An old Bronx courthouse has been scouted as the site for a new hip hop museum. [Curbed]

Larry Gagosian has finally agreed to pony-up $4.3 Million in unpaid sales taxes, including interest and penalties, after an investigation by the New York Attorney General. Given the scope of his art empire, it’s frankly surprising that number isn’t higher. [The Wall Street Journal]

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Thursday Links: Someone Buy David Bowie’s Stereo

by Michael Anthony Farley on July 14, 2016

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David Bowie’s art and design collection is heading to Sotheby’s. This is the first time the legend’s collection has been made public, and it’s a treasure trove. Bowie collected mostly 20th century painters and designers, including Basquiat and Duchamp and a 60s stereo system from Achille and Pier Giacomo Castiglioni (above) that looks straight out of A Clockwork Orange. [BBC News]

Dennis Cooper’s blog, which he has kept since 2002 and is considered an important piece of experimental literature, has been deleted inexplicably. Google deleted both the author’s Blogger account and Gmail, erasing over a decade of work including an incomplete animated GIF novel. It’s terrifying that corporations now control the fate of so much cultural output and can erase it on a whim. [ARTnews]

“Rendering the Unthinkable: Artists Respond to 9/11” opens September 12th at The National September 11th Memorial Museum. The exhibition will be the museum’s first foray into curating art rather than historic artifacts. [The New York Times]

Ryan Mendoza purchased two more homes in Detroit for an artwork. This time, the facades are lit with LEDs in bullet-sized holes that spell out “CLINTON” and “TRUMP.” This sounds dumb. [Detroit Free Press]

The City of Miami is considering legislation that would make developers set aside a percentage of a building’s construction budget for on-site artwork or pay into a public art fund. The city of San Francisco attempted a similar program, but recent reports indicate this has just lead to a lot of artwork in building lobbies and relatively little cash in the public trust fund. When given an option, the private sector tends to put “public” art where it has the most benefit to themselves. A mandatory contribution to neighborhood public art funds is a far better idea. Besides, do we really want developers curating what our public art looks like any more than they already do? [Miami Herald]

Yale has asked the state attorney to drop charges against Corey Menafee, a dishwasher employed by the university until he was fired for shattering a historic stained glass window depicting slaves. [artnet News]

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Friday Links: A Mercifully Shorter Frieze

by Michael Anthony Farley and Rhett Jones on July 8, 2016

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Hot times, summer in the city. Due to an air-conditioner outage and temperatures expected to be in the nineties, the Brooklyn Museum will be closed this weekend. [New York Times]
Eric Shiner, the director of the Warhol Museum, will be leaving to join Sotheby’s. He has held the position since 2011 and will now be Senior Vice President of the new Division of Fine Art. [Artforum]
Frieze is getting shorter next year. Organizers say that the 2017 edition will only be four days rather than the usual five in order to reduce the burden on galleries. Ben Davis reports on the various factors going into the decision. [artnet News]
Jeffrey Deitch has officially announced his plans for reopening the 18 Wooster St. location that was previously home to Deitch Projects. The new/old space will kick off with a series of performances by Eddie Peake that will run September 8-10th and it will not be running on a standard gallery model of representing artists. Despite the very public and acrimonious conflicts that were part of his time as head of the LACMA, Deitch says, “I rented the Wooster Street gallery to the Swiss Institute for five years, and figured that would cover my journey to Los Angeles. I always intended to come back.” [The Art Newspaper]
In advance of its official 2020 opening date, The Main Museum of Los Angeles is offering public programming through “Beta Main”, a sort of preview of what to expect when the new institution opens in its official digs. [Los Angeles Times]
The Second Avenue Subway’s 86th Street station is going to feature huge mosaics by Chuck Close. This is good news if you’re a Chuck Close fan, I guess. [Curbed]
Fairphone—the Dutch phone manufacturing startup that hopes to make the electronics industry less evil—is getting attention even from The Wall Street Journal, print bastion of capitalism. [The Wall Street Journal]
The Guggenheim’s exhibition Åzone Futures Market is essentially an exchange for a new cryptocurrency developed collaboratively. Even after reading this twice, I’m still not sure what this means. Is the message behind all these artist forays into financial markets that no currency makes sense and the economy is totally arbitrary? [Hyperallergic]
Memes generated by an AI are the best memes. Meet Shitpostbot 5000, the internet’s least self-aware content generator. [Geek.com]
Brooklyn’s Trestle Gallery is seeking a new Curator in Residency. [Trestle]

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Wednesday Links: Art Mimicking Products, Products Mimicking Art

by Paddy Johnson and Rhett Jones on June 29, 2016

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DIS responds to critics of the Berlin Biennale. The collective says that “people may leave feeling angry or uncomfortable, which is a valid response, and it’s better than them feeling gratified as if they’d just recycled, or donated to a cause.” They go on to say that “the big mistake people make is to see this as a disillusioned or cynical or fatalist perspective.” The interview sounds a lot smarter than the show looks. [Ocula]
If the auction at Sotheby’s yesterday is any indication it seems that international players are taking advantage of the devalued British currency. Works by Keith Haring and Jenny Saville broke records and overall sales were characterised as “reassuring.” London dealer Harry Blain said that “It’s such an international market. If you are looking at something in terms of sterling it is a lot less expensive than it was three days ago.” [The Art Newspaper]
A ranking of all 156 Amazon dash buttons. There’s something unsettling about the branded devices that reorder common items like detergent or toilet paper with a single button press. This list gets it right with Trojan condoms coming in at number one. [Motherboard]
Airbnb is suing San Francisco over on-going regulatory disputes that were initially kicked off by affordable housing advocates. The city decided on June 7th to fine Airbnb $1,000 a day for every unregistered host on the site. This follows a move by New York to fine users of Airbnb who rent a whole apartment for fewer than 30 days. [New York Times]
Stella Schnabel has opened a “music club that’s like an art gallery.” How is it more like a gallery than a venue? That remains unclear. It sounds as if Ms. Schnabel is just unaware of the large DIY venue scene in New York and her music space is more like an art gallery because it is not Madison Square Garden. Also, they serve fruit punch instead of alcohol. [Wall Street Journal]
You can rent photographer Annie Leibovitz’s former four-floor townhouse in the West Village for a mere $13,500 a month. It’s shaped like a triangle, so good luck doing anything interesting with the space. [Curbed]
Once again, the New York City Rent Guidelines Board approved a rent freeze on all one-year leases. [Capital New York]
Artists are no longer flocking to New York, according to artnet News. Instead, they are opting to stay in their city of origin—Mexico, Brazil, Poland, Indonesia, etc. Not exactly news to most art professionals, but good to see the fact that these so-called peripheries are a big deal to artists acknowledged. [artnet News]

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Friday Links: Cutest Ass in Hammock

by Paddy Johnson and Michael Anthony Farley on June 10, 2016

We’re not usually up-to-date with pop culture gossip, but Johnny Depp is apparently in the midst of a fucked-up divorce, during which allegations of abuse were made against him. In anticipation of it being a pricey legal affair, Depp is selling his collection of Basquiats at Christie’s later this month. Can somebody please buy these for a museum so they don’t end up in a mutual fund’s storage locker in Delaware for 50 years? [The Daily Mail]
Alex Rotter will join Christie’s as their new chairman of Post-War and Contemporary Art Americas. Rotter left Sotheby’s in February during a round of buy outs and the hiring of Amy Cappellazzo’s art advisory group. [The New York Times]
I have heard nothing but good things about Martin Creed’s solo show at the Armory, which I haven’t seen yet. Except that it’s kind of disgusting (yet endearing at the same time). You can play with balloons, but also watch videos of his mother chewing food, a woman taking a shit, and various people vomiting. I guess there’s something for everyone. [Observer]
The Statue of Liberty Museum only receives about 5000 people day, but that number hasn’t deterred the National Park Service and the Statue of Liberty-Ellis Island Foundation from planning a new, much larger museum. The new museum would be about 15,000 square feet and privately funded. They are looking for donors. [Curbed]
Canadian Art’s publisher and CEO Jill Birch is leaving for greener pastures. In a statement, the magazine’s board said they were looking forward to their September 22nd Gala. Any press release is an opportunity to fundraise, huh? [Canadian Art]
Instagram has been on a food-related censorship rampage lately, banning everything from the hashtag #eggplant to the account of artist Stephanie Sarley, who posts erotic photos of fruit. They even banned Sue Moseley’s photo of a cake because an algorithm decided it looked too much like a breast. Does the Instagram AI have some sort of sexual/food-related complex? Do androids dream of electric Peeps? Let’s hope they get this porn-or-food dilemma sorted out by the Fourth of July, or we’re going to be looking at a lot of users getting banned for selfies with hot dogs. [SCAD Connector]
Carolina Miranda reflects on the new SF MoMA, what it means for the already gentrified city, and what its inaugural uber blue-chip show signifies. At the very minimum, change. [L.A. Times]
Wow. Leave it to Scandinavia to solve two problems with one unlikely solution. Thanks to researchers in Iceland, we can now pump captured carbon dioxide gas and rising sea water into volcanos to create solid rock. I can’t even begin to fathom how this process works, but I guess we can look forward to basalt carbonate being the most bountiful art material of the future. [TIME]

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Thursday Links: The Art World’s New Favourite Collector

by Paddy Johnson and Rea McNamara on May 12, 2016

The mysterious buyer of that Basquiat top lot at Tuesday’s Christie’s contemporary has been revealed. Yusaku Maezawa is the forty year old Tokyo-based billionaire founder of online shopping mall Zozotown, and reportedly went on a shopping spree snapping up works by Nauman, Prince, Calder and Koons. But everyone’s really feeling him: dealer Barbara Bertozzi Castelli praises him as “someone with passion and an eye.” According to Maezawa, he bought the Basquiat because it was first shown in Tokyo back in 1985 and was “an art historical moment” for Japan. ARTINFO’s Judd Tully calls Maezawa “the real deal”. Emoji hearts overload! [BLOUIN ARTINFO]
Speaking of sales, Sotheby’s contemporary auction results from last night saw 95% of the lots sold with sales totalling $42.2 million. This is sure to be a boost, especially after the poor performance of Monday’s Impressionist and Modern sale. Oh, and Maezawa — the collector of the moment, it seems — was there, and bought Adrian Ghenie’s “Self-Portrait as Vincent van Gogh” (2012) for $2.6 million and Wool’s “Untitled” (1990) for $13.9 million. [Baer Faxt, The Art Newspaper]
Big news in the online art market world: leading start-ups Auctionata and Paddle8 are merging. The news comes on the heels of a Hiscox’s report last month noting both companies double their sales in 2015, bringing in a total of $3.27 billion. The report also predicted that the market will consolidate, and that eventually one large company will be the platform that everyone will use to buy or sell art online. [ARTnews]
Why was a Melbourne artist mysteriously deported from the United States? Hamishi Farah was supposed to be in town for a solo show of his work at NADA last week. But when he attempted to board his connecting flight from LAX with an electronic waiver, he was given a “SSSS” (secondary security screening selection) boarding pass. This is apparently a list that the airline then sends to Homeland Security. He was then questioned and searched, had his passport confiscated, couldn’t make any calls, and spent 12 hours in a cell. He was then sent back on a flight to Australia with no stamp on his Australian passport or explanation of what happened. Baffling. The black artist, represented by Sydney’s Minerva Gallery, believes he was racially profiled. [The Age]
Siddhartha Mitter is a big fan of the Brooklyn Museum’s African masquerade show, in particular, for its forgoing of the typical museological vitrine display of masks. [Village Voice]
Vetements, a Parisian design collective, has gotten a lot of notice in the fashion world for producing “contrarian mallgoth style collections” beloved by Kanye West and Rihanna. Think health goth soccer socks somehow transformed as a kitten heel ankle boot, or knock-off DHL uniforms. Berlin-based artist and stylist Ella Previn, however, believes the conditions of the collective’s success — in particular, its chic silhouettes that echo the street style of skinheads, rioters and police — is the “bastard attire of a broken generation”. [Spike Art Magazine]
Oh, Canadians. We really know how to take care of our own: an Edmonton strip club is offering free lap dances to fire evacuees from Fort McMurray. The city is located right at the heart of Alberta’s oil sands region, so this offer is presumably targeting its oil patch workers. [Toronto Star]

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Monday Links: “Contemporary Art is a Cock Ring”

by Paddy Johnson Michael Anthony Farley Rea McNamara on May 9, 2016

Photographer Philip-Lorca diCorcia is no longer a fan of fashion brands getting involved with the art world, especially after he learnt that money he made working with Valentino could be traced back to the company’s home base in Qatar. “Contemporary art is a cock ring on a giant erection pumped up by capitalism and keeping the masters of that game from cumming,” he writes in a recent Artforum op-ed. “I think they like it. I think the artists like it, too. They get to pretend to be profound. Some are. Most are hemorrhoids waiting to happen.” [BLOUIN ARTINFO]
Japanese artist Megumi Igarashi (A.K.A. Rokudenashiko) has been ordered to pay a 400,000 yen ($3,700) fine for distributing data created by scanning her own vagina, under Japan’s strict obscenity laws. Ironically, the courts ruled that Igarashi’s 3D-printed objects, which depict her vagina and were made with said data, are not “pornographic” but “pop art”. Just the data is “obscene.” [ABC News]
Helen Molesworth, Moca’s chief curator, states a lot of obvious facts about why gender imbalance persists in museums: the art world isn’t separate from the greater patriarchal system, and the only way you’ll get diversity is if you actually do it. “If you’re going to be equitable, some of the dudes don’t get shows that year.” Nonetheless, a refreshing interview with Julia Halperin, especially with observations about why the mid-career point happens late for female artists and how the rise of art as an asset class is bad for both female and male artists. [The Art Newspaper]
Architect Moshe Safdie has been awarded the Lifetime Achievement Award at Cooper Hewitt Museum’s 2016 National Design Awards. [Artforum]
Sotheby’s reported a loss of $25.9 million during its first quarter of 2016. The loss isn’t surprising, especially given the re-structuring happening under the watch of CEO Tad Smith, and the general market trend. [New York Times, The Art Market Monitor]
Speaking of auctions, a roundup of reports on Christie’s “Bound to Fail” auction, which was generally considered a success given that they were selling a bunch of difficult conceptual work. The market isn’t doing as badly as we think? [The Art Market Monitor]
A 1970s high school art project was mistakenly appraised on Antique Road Show as a late 19th century artifact worth $50,000. [Hyperallergic]
What are the laws governing the sale, return, and legal status of stolen artwork? Quite a few, as it turns out. And they vary from state to state. [Artsy]
The 21-acre Brooklyn Greenway has new renderings, following a long period of community input. The plan is to connect many of downtown Brooklyn’s parks and public spaces, but based on these images, it doesn’t look very green—large paved areas dominate. Still, it’s an improvement for pedestrians.[Curbed]

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Friday Links: Warhol’s Piss Paintings are Better Than Anything Pigasso Can Paint

by Paddy Johnson and Rea McNamara on February 26, 2016

Newfoundland finally has its own “Pigasso”: Izzy, a two year old pig who plays the piano, dabbles in ring toss and paints. She uses her head and snout, and already has a Facebook page selling her works for under $20. Paddy thinks Warhol’s piss paintings are better, but with the Canadian dollar just three quarters of the American, it’s at the very least an easy way to build that animal art collection.) [CBC News]
Sotheby’s CEO confirms their most recent sales period is lower than in the 2013 and 2014 periods. On top of that, even though overtures are made that they’re focusing on retaining talent, two of their top dealmakers have bounced: Alex Rotter, co-head of their contemporary art department and David Norman, co-chairman of their Impressionist and modern art world-wide. The exits follow the November exodus of senior experts following a management shake-up. [Bloomberg News]
Jim Windolf, the New York Times’ Men’s Style editor, is live-tweeting the late delivery of a Will Forte profile from writer George Gurley. Trigger warning: any writer who has pushed back at a deadline might suffer PTSD flare ups in reading the despairing communiqués from Gurley. [@jimwindolf]
Related: turns out writers and spies have a lot in common — isolation, loss of perspective, a willingness to disappear, alcoholism. [Lapham’s Quarterly]
Barry Schwabsky punctures the mythic balloon of Black Mountain College, the subject of a touring exhibition that’s been at Boston’s ICA and is now at the Hammer until May. “Why the recurring preoccupation with a short-lived, unaccredited school at the back of beyond, which never had enough students to pay its way?” he asks. While Schwabsky acknowledges its creative optimism and “infectious sense of possibility”, he points out its illusions: the school’s impossible internal politics, and “an education philosophy based on ‘the whole person’ gave no indication of how to square the conflicting goals of community and individuality.” [The Nation]
The digital age has flooded us with images and reproductions of everything and anything. That has its ups and downs, but certainly one “up” is that this iconic Gordon Parks photograph of Ella Watson is available for anyone to purchase and put up in their homes thanks to 20×200. The image shows Watson, an African American, with a broom and a mop standing in front of an American flag. Parks once called the photograph an indictment of America. [20×200]
Artprize has announced its partnership with Independent Curators International (ICI). ICI will develop three curatorial mentorship programs intended to pump up the experience of curators and partner institutions participating in the ArtPrize Fellowship for Emerging Curators. [Artprize]
There is an editor asleep at the wheel over the Observer. Ryan Steadman interviews NewHive curator Lindsay Howard about online art, and begins his questions with the following outdated cliche “The Internet Art is still so new to the art world that it feels a bit like the Wild West”. Later he tells Howard she “legitimized” digital art by organizing the first auction of digital art at Phillips. Howard, in her answer, not only doesn’t challenge the assumption that only the sale of culture legitimizes it, but fails to mention the collaborators who approached her with the idea to do the auction in the first place: Megan Newcome and Annie Werner. Other than that, a great interview. [The Observer]

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Thursday Links: Squabbles of the Rich and Famous

by Paddy Johnson and Rea McNamara on November 12, 2015

Marina Abramovic & Ulay, “AAA-AAA”, 1978.

Before filing for divorce from his socialite wife, Swiss businessman Maurice Amon has his art consultants come to their Fifth Avenue pad and lift works from their collection — including a Basquiat and Warhol — off the walls. Soon-to-be ex-wife Tracey Hejailan-Amon is stunned, and accuses her husband of stealing and trying to sell the works at auction without acknowledging their 50/50 interest. His people says the works are actually owned by his “corporation”. And, of course, there’s no pre-nup. [New York Post]
Related: Ulay is suing Marina. He says she violated their contract, undercutting his 20% cut on profits made from their joint saleable work. She vehemently denies the claim. This is worth reading only for the totally apt headline: “Ulay v Marina: how art’s power couple went to war.” [Guardian]
The Sotheby’s contemporary sale did well last night totalling $294.9 million, over a low estimate of $254 million. Cy Twombly went for a record high of 70 million. (I don’t get the prices for his work.) Josh Baer thinks the auction did well because there were better, fresher works available. We also learned that Leonardo DiCaprio showed up and maybe the Nahmad family bought him a five million dollar birthday present. (Who cares.) [Artnews]
Ever since Shanghai collector Liu Yiqian snapped up that Modigliani nude at the Christie’s auction for $170 million, the art world has been a-twitter about this former taxi driver-turned billionaire who dared to — gasp! — sip from a $36 million Ming dynasty “chicken cup”. As expected, we get a sense of his tastes via his recent auction purchases: Chinese scrolls, Ming dynasty silk tapestries — you know, the usual 1% accoutrements. [The Art Newspaper]
Paris Photo, Europe’s leading fair for photography, kicks off today. Returning to the Grand Palais, the fair is undergoing a couple changes: two new directors (Florence Bourgeois as director, Christoph Wiesner as artistic director) and a new section spotlighting serial works. [The Art Newspaper]
“I am one of about six African American full professors of Art History in the US. All but one of this number are male.” The #BlackOnCampus hashtag is bringing revelations such as this, from UCLA Steven Nelson, to the fore. Good to know the dialogue around inclusion is now going beyond students to campus administrations. [@TylerGreenDC]
You know, it’s really hard doing the Miami Beach fairs when you have to spend so much time indoors with the booths. Well guess what? The organizers totally feel you on those struggles, which is why they’re bringing public art to Collins Park for an outdoor show. Of course, the usual big names are attached (Olaf Breuning, Sterling Ruby, Robert Wilson, Katharina Grosse). [The Observer]
Four raccoons were responsible for an early-morning break-in at a Newport, OR gallery. [KOIN 6]
Some cheeseball animated GIFs inspired by Magritte. [Hyperallergic]
Mesmerizing: watch this flash flood in Southern Utah. [Youtube via metafilter]

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