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cady noland

Wednesday Links: Friends, Enemies, Silence, Gold

by Paddy Johnson and Michael Anthony Farley on December 14, 2016

The Condo art event is returning to London, in which galleries in the British capital each play host to a different international gallery. Two New York galleries are participating this year, but mostly I’m excited about this map—which looks like it’s advertising a fantasy rave for libertarians thrown by M.I.A. [ArtReview]
As if any of us needed any more reasons to be upset about the current political climate, we found out yesterday that America’s sweetheart RuPaul is losing beauty sleep over the election of Donald Trump. “It feels like the death of America.” [Vulture]
Salvaged video art collective Everything is Terrible is transforming LA’s iam8bit Gallery into a VHS rental store… which only carries thousands of copies of Jerry Maguire. It opens in January. [Consequence of Sound]
Fred Lazarus, the former president of the Maryland Institute College of Art, discusses the need for cities such as Baltimore to cooperate with artist-run spaces to make them safer places, following the Ghost Ship fire in Oakland where at least one MICA alumn died. [The Baltimore Sun]
NY Times critic A.O. Scott isn’t a fan of Rogue One. It sounds like Star Wars might be getting a bit too formulaic. [The New York Times]
Net art maven Minh Nguyen on the role of social media and art in 2016: “as the year progressed… everyone went ‘You know what? Maybe the Internet is a horrible place that cements all of our biases.’ You know, fascists also make memes, the alt-right have aesthetic Tumblrs, and they’re way better and more effective at it than us… Nobody understood aesthetics better than the Nazis. You have to acknowledge that, or the optimism is really irresponsible.” She also discusses the commodification of identity politics and the legacy of Occupy. [Seattle Weekly]
Headline of the day: ‘FRIENDS AND ENEMIES’ GATHER AMID SILENCE AND GOLD FOR MARINA ABRAMOVIC’S 70TH BIRTHDAY. Sounds like the conceit of an electroclash song. [ARTnews]
Seriously, if New York can’t figure out how to fix its subway problems, it’s not going to remain much of a tourist destination. The MTA has announced that the 2,3 will no longer operate on weekends due to Sandy repairs. Repairs start this spring. [Curbed]
Alan Thicke has died. Those who grew up watching Growing Pains will find this a bit sad. Thicke played Jason Seaver, a father of three kids, in the sitcom. [LAist]
An American judge has thrown out Scott C. Mueller’s lawsuit against German gallery Michael Janssen and art advisor Marisa Newman. Mueller was suing both parties for damages related to his purchasing of Cady Noland’s “Log Cabin,” which the famously mercurial artist disavowed following unauthorized restoration work. [artnet News]
Tracey Emin has finally abandoned her controversial plan to demolish a historic East London building in order to construct a five-story live/work studio/mansion. Preservationists are breathing a collective sigh of relief. [The Guardian]

We Went to No Man’s Land: Women Artists from The Rubell Family Collection

by Paddy Johnson and Michael Anthony Farley on December 21, 2015

At the Rubell Family Collection, dozens of contemporary women artists working in every conceivable medium left us very impressed.

Michael: Here, the blue-chip market and a private collector managed to accomplish something many institutions or independent curators haven’t—presenting an all-female show that feels as if it has nothing to prove.

Paddy: I still can’t get over how many monumental art works in this show so effectively dominated the space that you’d literally feel awestruck by their presence.

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Miami Beyond the Fairs, Part II

by Michael Anthony Farley on November 27, 2015

Art Basel Miami Beach doesn’t technically begin until next week, but myriad satellite fairs, pop-ups, and exhibitions at institutions and artist-run spaces have pretty much turned Miami “Art Week” into a season unto itself. For Miami locals and those who want to check out more than just what you can see at the fairs, this is the guide for you.

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Female Art Writers Open Up About Sexism in Publishing: Part Two

by Corinna Kirsch on August 19, 2015

In part one, art writers discuss discrepancies between the number of women in staff writer positions in contrast to editorial ones. Part two goes in-depth into what makes up everyday sexism, from female-specific reporting topics to out-and-out harassment, and concludes with suggestions for achieving some semblance of equity in the field of art writing.

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Monday Links: Fair Use Isn’t a Feminist Issue

by Paddy Johnson Michael Anthony Farley Corinna Kirsch on June 29, 2015

Arabelle Sicardi and Tayler Smith, Cheeks (2014), and Zak Arctander’s Cheeks (2015).
Photo: Arabelle Sicardi and Tayler Smith/Zak Arctander.

A new exhibition looks back on the history of Black Mountain College. The legendary, unaccredited art school only existed from 1933 to 1957 in the middle of nowhere, but managed to have a lasting impact on art history. [Forbes]
Surprisingly, we agree with Forbes on a variety of issues today. The financial magazine’s art contributor Jonathon Keats asks “Is Yoko Ono too Good for MoMA?”. Last month, we answered yes. [Forbes]
How many Confederate flags were taken down this weekend? So far, we count two. Bree Newsome took down THE flag in South Carolina. But then someone in Boston put up a confederate flag on a memorial for African-American soldiers, and a woman took it down after an hour. Do what you gotta do. [The Internet and The Boston Globe]
The Milwaukee Art Museum is at the center of a “culture-wars” style controversy that makes us nostalgic for the 80s/early 90s. A portrait of the Pope composed of colored condoms by the artist Niki Johnson is causing quite the scandal. Docents have quit, donors have threatened to withhold funding, and the local bishop is angry. Milwaukee is lucky Giuliani isn’t their mayor, or else he’d probably have gotten involved too. [Milwaukee Journal Sentinel]
Have you noticed how the past few years have looked and felt an awful lot like a sci-fi movie from several decades ago? Apparently that is not a coincidence. [PRI]
On Twitter, @gregorg called this piece about “Cady Noland Goes Bananas” “offensive, mocking her mental health & artist’s desire to not have her work altered/remade w/o consent.” IMO, it also calls up some unhealthy stereotypes about women, with references to her being a control freak and having erratic and paranoid behavior. (Corinna) [artnet News]
Then, @gregorg wrote up a response, that, among other things, notes that the image used for the artnet (and Artforum, Art Market, and Courthouse News) piece is incorrect. [Greg.org]
Former BuzzFeed beauty editor and Rookie contributor Arabelle Sicardi and photographer Tayler Smith have had their 2014 photograph, Cheeks, appropriated by artist and student Zak Arctander. The new photograph is considerably altered but Sicardi and Smith are pissed regardless. Sicardi says “we’re going to be written out of the authorship in Arctander’s Yale MFA gallery exhibition and accompanying New Yorker piece—like many women before us.” Oh, please. This isn’t a feminist issue. More than enough alterations on this photograph have occurred, but also—nobody’s going to remember Arctander’s manipulation. This image seems like an outlier in his larger body of work. Let it go. [artnet News]
Keith Haring’s largest artwork EVER is now on view at the NOMO SOHO hotel. [Broadway World]
With the Fourth of July right around the corner, have you ever wondered what could make hot dogs better? Curl-A-Dog, an as-seen-on-TV masterpiece, suggests that hot dogs would be better if they were curly. Beware: the video’s jingle might worm its way into your brain. [YouTube]
Did blowing in Nintendo cartridges help them work? Probably not. [Mental Floss]

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“1993” at the New Museum: Slideshow and Commentary

by Paddy Johnson Whitney Kimball and Corinna Kirsch on February 14, 2013

A preview of the New Museum’s “1993”, in slideshow format. Get ready for some commentary!

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Highlights from the Artprice Contemporary Art Market Report

by Corinna Kirsch on October 10, 2012

What happens to the wealthy is what happens to the rest of the art world. At least, that’s what Artprice’s annual contemporary art market report suggests. Every October, Artprice publishes The Artprice Annual Report, a whopping 140-page document about trends in the contemporary art market; they look at art auction records,then talk to dealers and anybody else managing multi-million-dollar art sales to come up with a sense of the health of the market as a whole. We disagree, knowing that what happens at the auction houses doesn’t trickle down to the rest of the art world; for all its flaws, though, we enjoy reading this thing.

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cady noland

Highlights from the Artprice Contemporary Art Market Report

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