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The Guggenheim

Friday Links: How Much Are You Willing to Compromise?

by Paddy Johnson on March 10, 2017

Inside the Guggenheim. Image via: The New York Times

Arts organizations brace for the possible elimination of the NEA. [The New York Times]
Manhattan’s cheapest rentals in priciest neighborhoods. We might as well just call this feature “How Much Are You Willing to Compromise? New York’s Shittiest Soho Apartments.” [Curbed]
The Guggenheim’s permanent collection is on view in the rotunda—a rarity. Holland Cotter is happy. Looks like there’s some great canonical modernist masterpieces on view. [The New York Times]
Since 2008 DOT Art has been diligently working to beautify tunnels, bridges and streets with art. Projects on average take between four and six months to implement, and are supported by $200,000 in annual funding through the city’s OneNYC plan. The article’s mostly an overview on what they do, but it’s worth noting that this is not a lot of money for what they do. They are looking for more permanent streams of funding, as they should be because a lot of money is going to dry up under Trump. [AM New York]
Speaking of politics, here’s a terrifying tweet storm courtesy of David Frum, who appears to be the country’s expert on envisioning the most horrifying and likely dystopic future under Trump. In this thread he predicts that the failure of health care might actually help Trump by discrediting Paul Ryan and the remains of the old plutocratic GOP. Trump could “then introduce a deficits-shmeficits tax cut, shrug off entitlements problem, focus on immigration & trade. Popular!” [@davidfrum]
Wow. Devon Van Houten Maldonado really doesn’t like the Gabriel Orozco installation cum convenience store in Mexico City. “I wanted to be convinced of a deeper meaning hiding beneath the shallow analogy between art and disposable commodities, but I left sure that Orozco has given up making art for pretending to be a philistine.” [Hyperallergic]
Oh God. St. Patrick’s Day is a week away. Everybody hide. A map of places to avoid next Friday. [Curbed]

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An Audit Nightmare Turned Artist Victory: An Interview With Susan Crile

by Hannah Cole on December 15, 2016

If your arts practice loses money for more than a couple years, the IRS may question the legitimacy of the business – specifically, the profit motive. Typically, they reclassify such a business as a hobby, and disallow the artist from expensing deductions past the point of their income from the activity. That’s bad news for any artist, but it was a near nightmare scenario for artist Susan Crile.

Crile spent eight years in tax court (from 2005-2013), defending her right to take losses. In this interview, we discuss how she proved her case, what it took, and what she recommends for artists in a similar position.

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Friday Links: A Year of Heavy Musician Casualties

by Paddy Johnson and Rea McNamara on April 22, 2016

Prince

The Guggenheim just went public with its new website. Gone is the top navigation bar, and the cluttered four column information architecture. The navigation has shifted to a static top left box that floats as you scroll through the content. An improvement, I guess, but now it looks like a Martha Stewart website circa 2009. Too much teal. [Guggenheim]
“Stay Purple.” Yesterday’s unexpected death of Prince saw its share of tributes, like Prince St station suddenly getting a P line, and Minneapolis’s First Avenue hosting an all-night street dance party in honor of the purple one. It’s been great seeing previous tributes — like Questlove discussing why Prince was hip hop, or Hilton Als on his black queer sexuality — get re-discovered. [The Internet]
And in other tragic deaths, Richard Lyons, the founder of Negativland died at 57. Cancer sucks. [Rolling Stone]
Damien Hirst is back with Gagosian. [New York Times]
When I was visiting Lisbon last fall, I was blown away by the opulence and kitsch of its palaces — specifically, the Palácio da Pena, this insane mock-Manueline Disneyland former summer residence of the Portuguese royal family. So it’s cool to see documentation of the Lisbon-based art and architecture collective Os Espacialistas’s intervention at the Marquis of Pombal Palace in Oeiras. [Hyperallergic]
Why is it, that whenever we read about a museum increasing their focus on contemporary art, it involves the purchase of a new building? You’d think the two were inextricably linked, when in fact, these projects are not always needed. Keep that in mind when reading “A Story of Two Worlds: Flush MoMA, Struggling Met”. The Met has plenty of amazing space to play around with—they didn’t need to the Breuer building to achieve that. [The New York Times]
This year New Yorkers will spend two thirds of their income on rent. The Manhattan market, though, is softening. [Curbed]

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Wednesday Links: This Thing, Illegal Butt Paintings, Inscrutable Art World Decision Making

by Paddy Johnson and Michael Anthony Farley on April 20, 2016

Say hello to Mordor’sBrooklyn’s new skyline. From SHoP Architects.

The Bauhaus Ballet turns 100. I want all of these costumes. [Hint]

People in Boyle Heights are really, really serious about fighting gentrification. [The Guardian]

An interactive map breaks down how individual block groups voted in yesterday’s primaries. It’s pretty fascinating stuff. Obviously, the Upper East Side voted for Hillary. But Trump didn’t do well in his home turf of Manhattan. And plenty of millennial-saturated pockets of the Lower East Side and Bushwick didn’t turn out for Bernie. Are the kids still registered at their parents’ addresses back in the suburbs? Why did so many poor people in Brooklyn vote for Ted Cruz and who are the people in Hispanic neighborhoods voting Trump? You could spend hours on this thing and walk away with so many questions. [The New York Times]

Students at Austin Peay State University in Tennessee have been freaking out after a set of rainbow-colored nooses was found hanging in a tree on campus. It turns out they were an art project for an intro to yarn class. A very stupid art project. [Newsweek]

Strange rituals, backdoor deals, power plays, vast fortunes… this isn’t a teaser for the new Game of Thrones season. This is how LACMA curators battle for acquisitions in front of the Collectors Committee and it is bizarre. [artnet News]

100 year old plus paintings captioned by computer programmers. Naturally, the captions are all about computer programming. [Classical Programmer Paintings]

Cornelia Parker’s “Transitional Object (PsychoBarn)” is now on display on The Met’s rooftop sculpture garden. It’s a fake house that looks just like the Bates Motel from Psycho. The installation will be up until Halloween, when we can be sure to expect many selfies. [Time Out]

Looks like that monster 73 story high tower poised to be built in Brooklyn got the green light from city council. It will literally be twice as tall as anything around it. [Gothamist]

Infamous art collector and hedge fund manager Steve Cohen has put his $72 million penthouse on the market. Again. When it was first listed the asking price was $115 million, so that’s a pretty significant price cut. I’m not surprised. The place looks like a corporate office — it’s not exactly homey. [Curbed]

Gallerist Laura Borghi, owner of Borghi Fine Art Gallery, is facing a fine and jail time for refusing to remove a painting by Tom Dash that features a butt. No, this isn’t happening in the UAE. This is in Englewood, New Jersey, just across the George Washington Bridge from Manhattan. [NJ.com]

Nicole Bonneau is watching all 403 episodes of Bob Ross’s Joy of Painting and recreating every single painting. Why? Mostly because it’s relaxing and also because it’s exactly the kind of thing that gets social media followers. [Huffington Post]

The Guggenheim will be installing gold toilet by artist Maurizio Cattelan. Cattelan insists it’s a serious toilet not a joke toilet. Nancy Spector, the museum’s head curator said the Occupy Movement and a growing gap between the rich and poor came to mind when she saw the piece. No mention was made of Gulf Labor, a group negotiating fair working and living conditions for the laborers building their new museum in Abu Dhabi. The museum abruptly cut off negotiations with them this week. [The New York Times]

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Tuesday Links: Bullshit Reaches Beyond the Confines of the Fine Art World

by Paddy Johnson on April 19, 2016

Real Alcázar, an architectural influence on Game of Thrones

We’ve all heard about the rat king. Now monster rats in the UK are making headlines and they are even more disgusting. A pest controller who goes by the name of Lord Dean Burr shows images of two foot long cannibal rats found in a British housing estate. Yuck. [MSN]
Game of Thrones real-world architectural influences. [Curbed]
Mark Bradford will represent the United States at the 2017 Venice Biennale. Somehow this doesn’t seem like much of a surprise given his huge show at Hauser & Wirth last year. He has backing and the exhibition likely helped make the cast to the US Government. The Rose Art Museum at Brandeis University will head up the project and Katy Siegel, its curator at large, will organize the show. [ARTnews]
Why don’t many galleries list their prices? One explanation from artnet: So tax authorities can’t track their client purchases. Uhhh. Tax evasion can’t be the primary reason galleries don’t list their prices. Isn’t this practice mostly about marketing? Luxury items frequently don’t come with a price tag attached to the piece. Part of what you purchase, when buying these goods, is the doting sales pitch that comes along with it. [artnet News]
The Guggenheim has informed the Gulf Labor Coalition (GLC) that it will no longer negotiate with the group regarding working conditions of the workers who will be building its museum in Abu Dhabi. The group had been in discussions with the museum for months, so the timing seems a bit strange. In a comment, the museum claims it hasn’t chosen a contractor for the building so no abuses have taken place. [Hyperallergic]
Bullshit exists beyond the field of fine art. There’s a new start up called Helena. A journalist embarks on an odyssey trying to figure out what they do. [Gawker]

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Friday Links: “The Fucked-up-ness of American Culture”

by Michael Anthony Farley and Rea McNamara on April 8, 2016

Barkley Hendricks, “In the Crosshairs of the States”

Iggy Pop was at the MoCA Detroit for the opening of American Valhalla: The Art of Post Pop Depression. The exhibition features photography from Andreas Neumann and Matt Helders, and will be tour the same cities as Iggy Pop’s concerts this year. [Billboard]

Could the German baugruppe model work here? German would-be homeowners can form LLCs to act as their own developers, building themselves custom, cheaper housing as opposed to buying off-the-rack condos. [Curbed]

Many in Toronto’s Downtown East are concerned that a new LGBTQ-focused sports center development in Toronto’s Moss Park may not serve the area’s large community of homeless people, sex workers and drug users. The Center is promising to “de-institutionalize” the neighborhood by having all community services under one roof, but the development coincides with an Edmonton developer buying up ten properties across the street to turn into three large condo towers. And so far, the condo development’s language—around “safety” and working “closely” with police “to advance law and order”—is raising concern and fears of displacement for the very community the sports center is supposed to serve. [NOW Magazine]

Barkley L. Hendricks has a new show of paintings at Jack Shainman, and in an interview with Lee Ann Norman, speaks to about his return to portraiture and “the fucked-up-ness of American culture”. [Hyperallergic]

The latest art world revelation from the Panama Papers? Turns out billionaire currency trader Joe Lewis bought the Ganz collection before the record-breaking 1997 Christie’s auction with the support of an offshore firm. Lewis bought 100 works from the collection six months before for $168 million, and then set up the Christie’s sale, which then fetched $206 million. [The Guardian]

James R. Miller is suing the Robert Mapplethorpe Foundation, Sean Kelly Gallery, Skarstedt, the Whitney Museum of American Art, and the Guggenheim for copyright infringement. Miller claims he actually staged and shot four iconic Mapplethorpe “self portraits” and is seeking tens of millions in damages. [Hyperallergic]

Dushko Petrovich’s profile of Jerry Saltz is sadly only available in the latest print issue of Tablet, but M.H. Miller provides some highlights here, along with commentary: “Saltz, as one of the few remaining staff art critics in the country, has a lot of power in the art world. He is also a widely known public figure (uncommon for critics of any genre). Negative criticism of him is rare and largely kept private. I’m sure Saltz’s followers would happily—or, more likely, angrily—debate the profile on social media, though in a strange bit of irony for a subject whose persona is so entwined with his presence online, Petrovich’s piece is only available in print.” [ART News]

Earlier this week, I (Michael) asked “Is a graphic diamond a symbol we can attach whatever symbolic associations we want to?” Apparently, yes. Olafur Eliasson’s “Green Light” looks very much like the project “Diamonds Light Baltimore”, but this time, the diamond is about the refugee crisis, not police brutality. [artnet News]

“Any New Yorker who even thinks of voting for Ted Cruz should have their head examined, Really, here’s a guy who refused to sign onto the 9/11 health care act for the cops and fireman. Here’s a guy who talks about New York values.” Even conservatives in New York can’t stand Cruz. That quote’s from Long Island Republican Peter King, who also mocks the Texan’s cowboy boots. [New York Daily News]

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Nancy Spector Joins Brooklyn Museum: No More Crowd-Sourced Exhibitions!

by Paddy Johnson on December 18, 2015

Nancy Spector has been hired as the new chief curator and deputy director of the Brooklyn Museum. The just-announced news comes as a shock, since she has defined the Guggenheim’s programming over the course of her thirty year career there. Her tenure at the Brooklyn Museum will start in April, and there’s a lot to ponder on what will be her expected impact.

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Friday Links: New York Times Edition

by Paddy Johnson Corinna Kirsch Matthew Leifheit on October 4, 2013

What looks like a great model for community funding has been going on in Detroit for the last three years. SOUP, a public program in Detroit that serves $5 dollar dinners, asks four people to give presentations on how they would better the city. At the end of the night, attendees vote on which presentation should get a grant. A recap of one such evening. [Michigan Daily]
Michael Kimmelman observes that community centers served us well during Hurricane Sandy, and thinks we should use some of the federal emergency money to build libraries. We’re not sure they’re used quite as much as community centers, but we’re happy with any proposal that keeps New York’s libraries in the public eye. [The New York Times]
Twitter’s not making money and they’re losing users. [Dealbook]
We’re thinking about making Gravity a required viewing for all AFC staff and recommend readers join us. This movie looks great. A.O. Scott has the review. [The New York Times]
“Abstract Expressionism is overrated,” begins Holland Cotter, in his review of Robert Motherwell’s early collage show at the Guggenheim. Um, no. Motherwell is overrated. Spend an hour in the Albright Knox, and you’ll remember why people care about Abstract Expressionism. Viewing the best of this movement is truly moving. Anyway, he explains that while much of Motherwell’s work was repetitive and predictable, these collages are not. -PJ [The New York Times]
And the reviews of the New Museum’s Chris Burden show begin. Roberta Smith loves it. [The New York Times]
The Alice Austen House opens a show of Melissa Cacciola’s tintype portraits this Sunday, titled “War and Peace.” Situated in a Victorian Gothic cottage on Staten Island called “Clear Comfort,” the museum was home to one of America’s earliest woman photographers. Deputy photo editor of TIME Magazine Paul Moakley is curator in residence, and the museum features sweeping views of lower Manhattan. Try and think of a better way to spend Sunday afternoon. [Alice Austen House]
Restoration Hardware, a shop that sells everything from salvaged-wood tables to funky drawer pulls is unveiling RH Contemporary Art, “a platform that includes an interactive Web site, which will blend e-commerce and editorial; a print journal; a series of short documentaries; a residency program; and, yes, a Manhattan gallery.” These are the guys that brought you The Rain Room, so set your expectations low. -PJ [T Magazine]
Thomas Jefferson has a call-in talk show. Okay, he’s actually an historian who likes to impersonate Thomas Jefferson. [The Thomas Jefferson Hour, h/t @gregorg]
Calling all sandwich artists! Katz’s Deli is opening up a pop-up gallery space to feature works by artists living in the heart of the LES. All the exhibitions will be “deli-inspired.” [Bowery Boogie]

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Wednesday Links: In the Future, We’ll Have Crabs and Potatoes

by Paddy Johnson and Corinna Kirsch on July 10, 2013

William Powhida reviews the exhibition catalog It’s the Political Economy, Stupid. He calls out theorists and critics who hope for a new, post-capitalist art practice without dealing with how we get to there (the future) from here (the now). It’s great. [Hyperallergic]
Magda Sawon did not win the High Line Art commission, but the activist Florent Morellet did. John Ahearn will sculpt his bust, which will go on view to the public in September. [High Line Art]
Though eight weeks old, this story’s totally relevant. Kriston Capps reports that D.C.’s independent gallery scene is shifting, and possibly shrinking. [City Paper]
Did you win this year’s apexart open call? Only if your name is Avi Lubin, Ceren Erdem, Jaime Schwartz, Martin Waldmeier, or Lisa Williams. [e-flux]
The Guggenheim makes history with its app, or at least that’s what some PR-filled reviews would lead one to think. [Long Island Newsday]
“Gadgets will soon be made of crabs and potatoes”. According to The Guardian, this is what we should look forward to with artfully designed tech. [The Guardian]
The house that Ai Weiwei built for contemporary Chinese art collectors Christopher Tsai and André Stockamp has now been sold. The upstate New York “compound” includes three bedrooms and a studio. [Curbed NY]
John Zorn turns 60. [The New York Times]
Malcolm Gladwell wrote about Korean Air back in 2008, saying that they’ve had more plane crashes because their culture is hierarchical. Slashdot seems to think this could explain Asiana Airline’s recent crash. [Slashdot]

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Friday Links: There’s This Artist Named James Turrell…

by Paddy Johnson and Ian Marshall on June 21, 2013

2012 QAM recipient Camilo Godo. Image via: Hyperallergic

“I like Mr. Turrell’s work well enough” Roberta Smith on the James Turrell exhibition at the Guggenheim. Despite the way it sounds, (if you’ll excuse the pun), the review is glowing. [The New York Times]
With James Turrell at the Guggenheim, the summer solstice making his 1986 “Meeting” at MoMA PS1 an enticing destination for sunbathing, as well as retrospectives in Houston and Los Angeles, it would seem the artist is on top of the world. That said, he has recently declared one of his works in Dallas “destroyed” due to unwelcome real estate development. [Hyperallergic]
Turkish artist and choreographer Erdem Gündüz stood still as an act of protest in Taksim Square, Istanbul this week. The artist has garnered a small following of fellow standers who in turn have been awarded the hashtags #direnankara and #duranadam (standingman, standingwoman) [ArtInfo]
Queer artists, filmmakers, and writers pair up in the New York-based mentorship program aptly named the Queer Art Mentorship Program. Participants include Carlos Motta, Moe Angelos, Geoffrey Chadsey, Yoruba Richen [Hyperallergic]
The Queens Museum launches a new studio program with nine residents. They include Juan Betancurth, Onyedika Chuke, Shahab Fotouhi, Caitlin Keogh, Mike Kenney, Filip Olzeweski and Bunny Rogers, Jewyo Rhii and Caroline Woolard. [Gallerist]
Holland Cotter on Ken Price at The Metropolitan Museum of Art: one of those rare ideal shows: right size, great design (by Frank Gehry), pretty near faultless art. [The New York Times]

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