Richard Artschwager, Photo: Rachel Chandler, Courtesy David Nolan Gallery (Image courtesy of ayearofpositivethinking.com)
- Richard Artschwager’s last major work was a design for four elevators for the new Whitney Museum. They’re based on six motifs which appear often in his work: door, window, table, basket, mirror, and rug. “When visitors enter they will find themselves standing under a table, on a rug or in front of a mirror,” writes the Times. “[T]hey will also be opposite a door, next to a window or floating in a giant woven basket.” [NYTimes]
- Vogel also reports that Maryland’s Glenstone Museum has begun a major expansion. [NYTimes]
- Amanda V. Wagner tells young artists not to move to New York City until the time is right. There’s a picture of me alongside Patti Smith, which is possibly the most flattering juxtaposition this author’s ever been graced with. (PJ) [Art Attack]
- LACMA’s twice failed to raise sufficient funds for their reconstruction and expansion efforts, but as their Director Michael Govan tells it, this time’s different, because their new design’s “worth it”. And maybe it is. According to reporter Carolina Miranda, Peter Zumthor’s proposal is a radical departure from traditional museum design. There’s no grand staircase or main entrance, so no single type of art takes priority. Sounds like a building that responds to increasingly multidisciplinary practice. [Architect]
- Not sure what Andrew Goldstein actually thinks of the Tino Sehgal Golden Lion win at the Venice Biennale. His analysis is mostly description. He seems to like the silver Lion winner, Camille Henrot, and National Pavilion winner, Angola, which showed the work of Edson Chagas and we agree with him on both. [Artspace]
- Hyperallergic got an interview with Karen Finley, who was the face of the NEA Four scandal in the nineties. They discuss how her work relates to celebrity and sexuality. [Hyperallergic]
- Artinfo introduces Travess Smalley. [ArtINFO]
- VICE got a tour of Richard Prince’s house, which, it turns out, is a pretty normal experience of a rural town where there’s nothing to do. “There’s not much to do in this town,” we’re reminded repeatedly. “I’ve always liked this road,” he tells us on the road. He walks us through his drawing process. No surprises there. [VICE]
