Earlier in the day we debated whether the Independent was anything other than a fair (it’s not). Now we discuss the art in the fair. We had a lot more to say about the Independent than we did the Armory Show, so that’s at least one good sign for its future.
Time for round two of massive openings. After over a year, CANADA Gallery finally reopens in its new Broome street space, right across from P!. On Thursday night, Chelsea opens. On Friday night, something’s going down at the Redhook galleries, but we’re not sure what. And tomorrow, we hope Cleopatra’s doubles its benefit goals for artist, curator, and Dependent Fair founder Rose Marcus, to help her pay for major surgery–and so do many talented artists who’ve contributed to her benefit auction. All that, and more, after the jump!
“Desperate Art Galleries Give Up As Chelsea Rents Double” Bloomberg reported in February. Postmasters had just announced it would be priced out of its Chelsea home and galleries had begun to express worry that experimentation would stop with the rents so high. At the time, the gallery’s rent rose to $30,000/month, and its move, signaled the beginning of that neighborhood’s exodus: one more nail in Manhattan’s coffin as a viable place to live.
But on a warm July evening on Monday, all of that was light years behind us. Yet again, we packed into a new gallery, in a new district, with all the optimism of a fresh start.
Complex lists Chelsea as the best art neighborhood in the world, for its diversity. They write of Hurricane Sandy that “even the little guys managed to find a way to stay afloat, a testament to the resilience and strength of the community.” Among most notable galleries is Postmasters, which leaves next week to escape the skyrocketing rent. [Complex]
Thanks to Andrew Russeth for pointing out this jewel on billionaires Joe Nahmad from 2007. He’s rich, but notoriously difficult to deal with. It’s hard to get the Nahmads to pay. They don’t stick to the terms of the deal. Nahmad never tips waiters and once ate 14 croissants for breakfast. [Forbes]
An art student chopped off a live chicken’s head in the Alberta College of Art and Design cafeteria; it was all part of the student’s loose interpretation on a class assignment to film a protest. Police will not press charges. [Maclean’s, via @CAA]
Those hoping ArtPrize’s new Executive Director Christian Gaines will curb the amount of kitsch the citywide event has become known for should prepare to have their hopes dashed. Gaines, a former film festival manager, says he has no plans to alter the voting process that’s come to define the event. [Hyperallergic]
Some architects like the former Folk Art Museum building! More than 30 architects and board members of the Architectural League of New York signed a letter that asks MoMA not to tear it down. The building was designed by Tod Williams and Billie Tsien Architects. [Architect Magazine]
Move over, 1988. Hans-Ulrich Obrist and Simon Castets are leading a study of artists born after 1989, called 89plus; the project has just selected 22-year-old Alex Mackin Dolan for a residency at the Armory. [ANIMAL]
Roger Ebert’s is taking a “leave of presence”. His cancer has returned. This really bums me out, but his post is incredible to read. So few people are as full of life and ideas. May he live forever. [Chicago Sun Times]
Is the future of Chelsea really in question? That’s the premise of The Art Newspaper’s story on Sandy fall out, but there isn’t much evidence that galleries are moving due to high insurance rates. In fact, they interview dealer Zach Feuer who indicates that he’s probably not going anywhere since he’s got another seven to eight years on his lease. [The Art Newspaper]
I’m already skeptical of this work: 303 is temporarily moving to make way for their bigger building, so artist Doug Aitken has made a hole in the ground and a sonic fountain that’s supposed to evoke the demolition. “I wanted to use sound as a tool to destroy the exhibition space.” he told Art in America. Watch his incredibly choreographed video on the galleries website. [303 Gallery]
Hyperallergic pays a visit to the Museum of Everything, now in Paris, and is wowed by the diversity of artmaking showcased. Among other works cited we learn that it’s full of Henry Darger drawings, Dietrich Orth’s paintings of imagined machines, and Alfred and Corinne Marie, build intensely complicated temples of whimsy from typewriter and electronic parts. If you’re going to Venice Biennale, they’ll having a show by Peggy Guggenheim’s gallery. [Hyperallergic]
New York Times critic Ken Johnson responds to the critics of two of his reviews last fall The Female Gaze: Women Artists Making Their World and Now Dig This!, in particular an article by David Levi-Strauss. We responded back in November, when a petition was launched imploring the New York Times to talk with Ken Johnson, and found that his words, were not quite worth the ire they evoked, though they didn’t put him entirely in the clear either. His response to the critics is well argued. [Art in America]
Doug Aitken's 100 YRS at 303 Gallery, Image Courtesy of Kyle Petreycik