Eric Fischl, “The Bed, The Chair, The Sitter”
1999
Good morning!
If you’re in New York, it’s 14 degrees and there’s news of another impending storm. Blarg. News elsewhere is more interesting.
- ALLOVERSTREET happens this Saturday in Baltimore, an event that invites visitors to trek to five arts spaces on East Oliver between Guilford and Greenmount. [Bmoreart]
- Jason Foumberg reviews “Your Everyday Art World”, a book by Lane Relyea, that contends social gatherings of like-minded markers are the driving force of the art industry. The meat from Foumberg’s review, “Relyea views DIY circuit is described as training wheels for conventional institutional roles. It’s why apartment galleries pretend to have white cube walls and hand out typed checklists at their opening receptions. What has the potential to be a radical exhibition format mimics the art world professional standard; and whatever was actually radical in the DIY scene has been usurped by the elite curators and artists who float from biennial to biennial so that an apartment gallery’s “microutopian” potential, as “the everyday’s poetic antitext,” becomes the premise for the next big international biennial. Alternative always gets folded back into the mainstream. [New City]
- I spent a couple hours at the pub last night watching figure skating and The Westminster Dog Show. (Mullane’s might be the best sports bar ever). Sky, the Wire Fox Terrier wins the show. Can’t wait to see him eat a steak! [The New York Times]
- Painter Eric Fischl is now experiencing an upswing because he had a show at the Albertina and has some work on view at New York Academy of Art? Um, okay. [FT]
- In case you missed it, Gallerist has a profile on Phillipe Vergne, the new director of MoCA, and his work at DIA. [Gallerist]
- Too bad Randy Kennedy couldn’t get a comment from Crystal Bridges founder Alice Walton for his story on the show their planning for September: 100 under-recognized artists, culled from a list of more than 10,000. Still, a great read. [The New York Times]
