Archive of Corinna Kirsch and Whitney Kimball

Corinna Kirsch and Whitney Kimball has written 53 article(s) for AFC.

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Corinna Kirsch and Whitney Kimball

NADA New York in Images

by Corinna Kirsch and Whitney Kimball on May 10, 2014

Some quick hits on what stood out at NADA.

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NADA New York: Still the City’s Best Art Fair

by Corinna Kirsch and Whitney Kimball on May 9, 2014

Dealers and artists were having a blast. And people were talking about the art.

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Tuesday Links: Friggin’ Conflicts of Interest

by Corinna Kirsch and Whitney Kimball on April 29, 2014

Hate the rain? Here’s some Doge inspiration for you. Also, Doge Weather. [Reddit]
Does anybody remember how and when the art PR business boom took off? We’re getting announcements about galleries’ hangings of a single new painting. [Our inboxes]
Where does Mel Bochner find words for his word-paintings? Why, Roget’s Thesaurus, of course. [e-flux]
The online art market is worth either $1.57 billion or $3.47 billion, if you believe one of these two reports. [artnet news]
The Tribeca Film Festival is over, but you can watch some of the short films online. [Tribeca Film Festival]
Adjunct professors have it rough. On the Fugitive Faculty blog, Miranda Merklein gives 10 tips to full-time professors on how they can improve relationships with their part-time colleagues. The tips are saddening, like “Stop advising us to quit our jobs.” [Fugitive Faculty via @CollegeArt]
Tyler Green cries conflict of interest again, this time on the Museum of Fine Arts Boston, which will be showing Norman Rockwell’s “The Rookie (Red Sox Locker Room)” before its anonymous owner auctions it off at Christie’s next month. Green feels that the MFA’s acting as an auction house showroom. Eh. See it on a free admission day. [The Boston Globe, Tyler Green]
Another conflict of interest story, and flagrant backroom dealing: The Northampton town council made a deal with Lord Northampton to sell off one of an Egyptian statue, which the Lord’s grandfather donated to the Northampton Museum. Valued at between £4m-£6m, Christie’s calls it “the most important Egyptian sculpture ever to come to market.” The Arts Council is threatening to discredit the Northampton Museum if it goes ahead with the sale. [The Art Newspaper]
Matthew J.X. Malady writes about how Flickr is more useful to freelancers than stock photography sites. Also great: Malady’s found photos of the first “phablet,” the original Dell Streak. Ah, a trip down memory lane. [The Awl]
Art dealer Hillel Nahmad will receive his sentencing today in Manhattan court for his involvement in a gambling ring. In lieu of prison time, his lawyers are requesting that Nahmad fund an art program for homeless youth at the Metropolitan Museum of Art. [The New York Times]

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We Went to Soho: Soho Art and Vietnamese Food

by Corinna Kirsch and Whitney Kimball on April 23, 2014

Art F City editors Whitney Kimball and Corinna Kirsch tackle the subtleties of art and food in this “We Went to” edition.

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Tuesday Links: Moving On

by Corinna Kirsch and Whitney Kimball on April 22, 2014

Felix Salmon is leaving Reuters “to do exciting things on the Internet.” That is all. [New York Times]
Just weeks after rumors began to swirl that Pearl Paint would be closing, it then closes. Several employees had worked at the red-and-white building for over 20 years. We don’t know what’ll happen next, but the building is up for sale. [Tribeca Trib]
This happened before you were born: 50 years ago today, the 1964 World’s Fair opened in New York. [City Room]
This May, Adrian Piper will create a corporate-themed artwork where participants’ contributions will end up being sealed for 100 years. Hm? [Elizabeth Dee]
Here’s another reason we could use more data about artists and their pay: The Foundation for Art and Creative Technology in Liverpool has laid off staff and replaced them with volunteers who need exposure opportunities. By now it seems like this is standard practice in the art world, but humiliating nonetheless. [The Art Newspaper]
Not totally unrelated, an upcoming Court of Appeals ruling could force stores, like Walmart, to disclose how much they get from food stamps. [Mother Jones]
Sounds like there was some borough-to-borough infighting to make this happen, but Macy’s July 4th fireworks display will be moved back to Brooklyn. Since 2008, they’ve been held in Manhattan. [DUMBO NYC]
Jonathan Jones takes a break from talking about why contemporary art sucks in order to talk about why performance art sucks. “Woman who pops eggs out of her vagina” is his performance art example. [The Guardian]
The Affordable Art Fair is launching a new chapter in Toronto, but under the name “Love Art.” Based on every art fair we’ve been to, “affordable” doesn’t seem like it would be much of a draw. [New York Times]

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This Week’s Must-See Art Events: Stereotypical Zinesters

by Corinna Kirsch and Whitney Kimball on April 21, 2014

Dodging banality.

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AFC Critics Talk About Degenerate Art: The Attack on Modern Art in Nazi Germany

by Corinna Kirsch and Whitney Kimball on April 11, 2014

Art loved and loathed by the Nazis.

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Friday Links: Looks Old, but It’s New

by Corinna Kirsch and Whitney Kimball on March 7, 2014

After so many art fairs, we feel woozy. Just like this Garfield. [Imgur]
“My guest tonight is an activist working to transform poor neighborhoods with art,” said Stephen Colbert, introducing last night’s talk show guest Theaster Gates. “Well, that explains all the chalk outlines in Chicago,” he added. [The Colbert Report]
Sydney Biennale protesters prevail! Luca Belgiorno-Nettis, the Biennale’s chairman and director of Transfield Holdings, a contractor for Australia’s network of immigration detention centers, has resigned. In addition, the Biennale has formally cut all ties to Transfield Holdings. [The Guardian]
California gets a new art fair, Silicon Valley Contemporary. The fair, opening in April, aspires to introduce techies to the joys of collecting art. [Silicon Valley Contemporary]
What animals, these journalists using their cars to chase down the presumed founder of Bitcoin! [Reuters, Slate, The Internet]
Martha Schwendener visits the Independent art fair and finds “plenty of work that looks old but is actually new, and vice versa.” Nostalgia abounds. [The New York Times]
Another sparkling Baer Faxt Report this morning contains a rant about the Basquiat estate’s authentication lawsuit against Christie’s. “Might their action for $1 million, alleging copyright issues really be driven by an enormous bill the IRS is seeking from the estate??” Baer wonders. Also from Baer Faxt: Botero has left Marlborough Gallery. [Gossip]
Seriously, Josh Baer is on a roll. He notes that Sell You Later is selling a quarter of its art market algorithms to ten people for $3,500 each. They’ve already sold out, although Sell You Later’s calculations are a little murky; the “web presence” factor, for example, might put somebody like Tauba Auerbach in the “peaking” category because she’s between shows. Tellingly, the list is also made up of artists who seem to do well at the fairs. The algorithms also capture art world gender bias. [Sell You Later]
Sell You Later also got a mention in a recent New York Times assessment of the super-rich-driven contemporary art boom. As Ben Davis predicted in 9.5 Theses on Art and Class, the success of top sellers is both luring more producers and creating more stress on a middle which can’t sustainably compete. Leaving the market to so few individuals is also a dangerous trend. The Times quotes Anders Petterson, the founder of ArtTactic: “if prices rise too much, this clique could lose interest and move on to something else, and if they lose interest, a lot of other people would lose interest as well.” [The New York Times]
Media has come out with a few more delayed but in-depth Robert Ashley obits, which celebrate the composer’s role in re-imagining opera and music, in the TV age. This was true while he was alive, too, but few people seemed to celebrate his legacy, save for avid admirers like Dave Ruder, who staged an outdoor “Perfect Lives” tribute across the city in 2011. Ruder’s written a beautiful obit on how Robert Ashley changed his life. Meeting Ashley, to him, was “meeting Shakespeare or Mozart.” [obit]

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This Week’s Must-See Art Events: Red Hook Moves to Manhattan

by Corinna Kirsch and Whitney Kimball on February 19, 2014

It’s a typical week in New York: psychedelic painting, Brooklyn criticism, feminist archives, the Yiddish cannon, Julie Ault, and a Red Hook gallery opens a Manhattan outlet.

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Wednesday Links: So Much for Olympics Amnesty

by Corinna Kirsch and Whitney Kimball on February 19, 2014

We’re back, Readers!

We hosted our annual benefit on Monday night and after many hours of cleaning, we are set to blog, and blog hard. Here’s some links to help you get through this soon-to-be rainy day.

A 300 year old douche, one of the oldest douches in the city, has been found at City Hall! [Animal New York]
One of our favorite Red Hook galleries 247365 has taken over Eli Ping’s old basement gallery space in the Lower East Side. Their first opening’ll take place this Friday night. [Gallerist]
It’s hard to believe, but rents in Manhattan are dropping. Brooklyn rents continue to skyrocket. In any event, it’s still expensive to live nearly anywhere in the city. [Brooklyn Magazine]
Manhattan may be the most expensive city in the country, but Verge reports that the most expensive town to rent is in the oil boomtown Williston, North Dakota, where rents have reached a median of $2,394 for a one bedroom. [The Verge]
So much for Olympics amnesty. Pussy Riot has been tweeting that they’ve been detained and beaten in Sochi, where they’d come to shoot a new video. [The Art Newspaper]
Artists have been named for the Hammer Museum’s second L.A. biennial, Made in L.A. [New York Times]
Strange that a big corporation would be the one fighting for net neutrality, but apparently Netflix is lobbying Congress and the White House to stop allowing service providers to privilege certain sites. Says Huff Po. [Huffington Post]
Michael Sartisky, longtime head of the Louisiana Endowment for the Humanities, has been forcibly removed from his position by the organization’s board. Sartisky claims the board violated its by-laws by removing him “abruptly” and without notice. [The Times-Picayne]

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