203 Houston, the site of Katz's new art gallery "The Space" (Image courtesy of Bowery Boogie)
Good news for pro-bush advocates! Marilyn Minter’s been posting pics of bushes on Facebook, in protest of all the baldness. [AnimalNY]
The Times has run two stories on William Kentridge. He’s closing an opera at the Metropolitan Opera, and opening a show at The Metropolitan Museum of Art. I get that these are big institutions, but with so many artists working in the city without coverage, couldn’t they have rolled this into one feature? (His show opens Tuesday.) [The New York Times, (Opera), The New York Times, (The Met)]
Let the Frieze reports begin. Take one: Jonathan Jones is upset that Frieze Masters takes “the entire history of art and turns it into an elitist shopping mall.” He then complains that the fair turns art into congealed money. To complain that an art fair is just for the rich is to fail to understand the point of an art fair, which is to sell art to rich people. But the actual review, which discusses fakes, substandard Brueghels, bad medieval paintings is more substantive than the usual crap Jones churns out. [The Guardian]
Adrian Searle thinks Frieze has better lighting and wider aisles this year, and while the art hasn’t improved much he says galleries seem to be trying harder. (Not sure how “trying harder” was determined, but okay.) Oh, and Jennifer Rubell continues to make bad art. [The Guardian]
Frieze gets a blow job from the Times: The fair has a non-profit foundation! (and has since its inception). The fawning profile on this year’s program here —-> [The New York Times]
Architecture critic Michael Kimmelman gives the city’s mayor a to-do list. [The New York Times]
Fred Amisen revives Ian Rubbish, his punk character from SNL, to play with actual members of the Clash. [Salon]
On the topic of punk, a 1989 interview with Dee Dee Ramone right after he quit the band was just released by Punk Magazine’s original “resident punk”, Legs McNeill. [Please Kill Me]
TIME Lightbox is into selfies. First, Elizabeth Avedon and John Maloof are interviewed about Vivian Maier’s graceful reflections captured with a Rolleiflex. Then, Marina Galperina and Kyle Chayka are interviewed about their National #Selfie portrait gallery. [TIME]
Lucky for Banksy, it’s a pretty slow news cycle. The New York Post is going to call the cops, because we’re having an “art attack.” [NY Post] Presumably that’s because Bloomberg’s casting himself as the authority figure to Banksy’s felon-on-the-run, so now we’ve got a David and Goliath narrative starting to emerge. Stay tuned. [Politicker]
A new memoir on Lucian Freud by Geordie Grieg has a dishy portrait of the painter’s complicated relationship with his daughter, including painting her nude at age 14. Freud sounds like a jerk. [Vanity Fair]
OMG. Katz’s Delicatessen is turning the nextdoor space into an art gallery for deli-inspired art. [Bowery Boogie, via Artinfo]
David Byrne threatens to leave New York City if it starts to look any more like Hong Kong or Abu Dubai than it already does. He says those places aren’t good for living. The comment section is filled with people who have moved out of New York or other large cities, after tiring of the hardship. [Creative Time Reports]
Google Glass has spawned a documentary genre. Filmmaker Mendy Seldowitz is Kickstarting his project about the Hasidic and Carribbean populations in Crown Heights, as seen through residents who volunteered to wear Google Glass for the film. Seldowitz likes that the glasses remove the influence of the filmmaker. Another plus is it’s cheap– they’re only asking for $5,000. [AnimalNY]
If you’re still wondering what the Met was thinking with “Punk: Chaos to Couture,” it was ticket sales. A breakdown of revenue generated by the Met, mainly by out-of-town visitors. [The Wall Street Journal]
Is “recommended admission” murky enough to be misleading? You can pay what you want, but two suits brought against the Metropolitan Museum last year claim that the Museum is swindling its visitors out of their money. The Met has argued that the cases have no merit and should be dismissed because the city has specifically said visitors can be charged, but the judge has not ruled yet. [The New York Times]
How much time and energy can one country waste? Hyperallergic reports that the American Family Association of Kansas and Missouri is trying for a second time to remove a headless statue with exposed breasts. It is in the midst of taking a selfie. The conservative group claims the statue encourages sexting and cost the state $35,000 trying to get it removed the first time around. In the group’s defense, the sculpture is terrible, just not for any of the reasons they’ve identified. [Hyperallergic]
New York Public Library president Tony Marx defends the Central Library Plan. Marx says the stacks are “badly deteriorated” without proper humidity and temperature controls. That’s supposed to justify demolishing the stacks, moving most of its inventory to offsite storage, and replacing them with a modern-looking revamp. Editor’s note: Also, as a former New York Public Library employee who used to work in the stacks, I can assure readers that Marx’s statement is patently false. The stacks themselves are made of a thick metal that showed zero signs of deterioration and wouldn’t unless they were stuck under water for 50 years. - PJ [NYPL.org]
Turns out the internet has plenty to say on the subject of dudes and their shows. After Whitney Kimball published her piece rounding up all the male-centric shows this fall and the conversation that’s followed, we spent the better part of the day, continuing to take part in said discussion.
And I gotta say, the talk has been pretty good. Highlights after the jump.
This week we have five jobs that call, first and foremost, for responsibility. If an intense work ethic (and more than a smidgeon of perfectionism) is the name of your game, one of these could be right up your alley.
The anchor for the CNE's roller coaster, "Crazy Mouse". Image via: The Toronto Star
Attention sculptors: North American Midway Entertainment has found that cellophane wrapping woodblocks in cellophane is more secure than nailing it together. This wood is used as roller coaster under-girdling. [The Toronto Star]
Walter Robinson really likes Victorian photographer Julia Margaret Cameron’s show at the Met. These portraits are a little romantic for our taste—her portraits are sometimes blurred in a way that seems cloying—but Robinson notes we aren’t the only people who have felt this way. [Artspace Magazine]
John Yau has some really smart insights on the Ken Price show. A favorite: “There is something stiff and flat-footed about the drawings, which I am sure Price was aware of, but which didn’t deter him from drawing every day. The fact that he was unembarrassed by his draftsmanship goes a long way toward explaining how adventuresome he could be, especially in clay.” [Hyperallergic]
Pompeii is in need of some serious conservation. So much so, that Unesco has warned Italy that it will be placed on the “World Heritage in Danger” list if steps to conserve it aren’t taken. Apparently overflowing water from house gutters is causing the detachment of wall frescoes and damage to the mosaics. [The Art Newspaper]
Anybody need a house in Florida with a water park? Celine Dion’s selling hers for 72.5 million. [Newslook]
The Cooper Hewitt Museum is now collecting code. The museum has bought Planetary, an iPad application that visualizes music as planets in space. Drafts of the code were put in a “curatorial folder” and are available to be downloaded, replicated, and modified by the public. [Cooper-Hewitt]
Rising rents in San Francisco are forcing galleries out of its downtown district. Four dealers have moved to Lower Potrero Hill. [The Art Newspaper]
Zaha Hadid is among 45 international architects that will participate in the Kazakhstan expo 2017 themed around alternative energy. If we are to believe the balloon filled mock-ups, the expo has no qualms wasting helium. [Design Boom]
Summer is here, and it’s hot. If going to the beach sounds painful, we’ve got a suggestion: museums. Thankfully, the air conditioned galleries of New York’s museums have plenty of worthwhile shows to check out. (Just don’t try to go to the rooftop gallery at the Met; they’ve closed that today due to the heat.) Below, we’ve rounded up a whopping list of 16 fantastic museum shows we’re going to check out.
Paul McCarthy’s multimedia installation at the Park Avenue Armory. Image via: Suzanne DeChillo/The New York Times
Boo. The Met Museum is getting rid of their tin admission buttons in favor paper ticketing. Also, starting next week they’ll also be open seven days a week. This puts their hours in line with MoMA’s, which are also new. A new calendar for the city’s major museums? [The New York Times]
A condescending op-ed piece by Blake Gopnik about the April 25th reversal of a lower court’s decision on the Patrick Cariou vs Richard Prince copyright suit. The story’s three months old, but I guess it’s never too late for outrage. There’s also some questionable speculation that The Whitney’s recent retrospect of appropriation artist Sherry Levine included very few works of appropriation because the museum was concerned about copyright images. [The Art Newspaper]
A specialized Italian art theft police force uncovered a treasure trove of 3rd and 2nd century BCE Etruscan artifacts that had been illegally excavated a few years ago and have since been circulating on the black market. [NYTimes]
South Street is getting a brand new mall and possibly a luxury hotel. Meanwhile, the South Street Seaport Museum, the cultural touchstone and steward of the area, is currently closed and needs $22 million to reopen. Who is helping South Street Seaport Museum? A great piece by artist Michelle Vaughan. [The Medium]
Holland Cotter isn’t quite sure what Paul McCarthy’s exhibition at The Park Avenue Armory is communicating, but he identifies themes of lost innocence and describes him as a Jonathan Swift or Hieronymus Bosch of our time. [NYTimes]
Critics mostly agree that the Punk show at The Met isn’t very good. I’m not a different voice in this choir, but perhaps my tenor might offer a slightly different pitch. This week at The L Magazine I explain why the Met Museum’s “Punk: From Chaos to Couture” fails.