Links today include a pick for the Miami fairs, two news stories about art warehousing, a Ryman boys profile, text discovery on a Malevich, union busting at Connecticut State University, and a post about “total service artists.”
1. Painter and curator Julie Torres has announced the artists included in “Art in America,” an exhibition she curated for Tiger Strikes Asteroid�s “Artist-Run” at The Satellite Show in Miami, December 1-6, 2015. The exhibition includes one piece from one artist in each of the fifty states and Puerto Rico. Yes, artists live everywhere!
[Image at top: Adam Lovitz, hoagie bar cackle, 2015, acrylic on panel, 10 x 8 inches. Representing Pennsylvania.]
2. Are the big new storage facilities where art collectors are warehousing their purchases safe? Mostafa Heddaya reports at Blouin Art Info that insurers are worried about threats from terrorism, fire and natural disasters. (Read more)
3. Artnet reports that the Swiss, worried about money laundering and other illegal activities, are imposing tighter regulations on the warehouse facilities known as freeports. (Read more)
4. The NYTimes reports that some text has been discovered on Kazimir Malevich�s 1915 painting Black Square. “The three barely visible words, written in Russian on the lower left
edge of the white border that surrounds the black square itself, seem to
be part of the phrase ‘Negroes Battling at Night,’ an apparent
reference to an earlier painting by the French writer and humorist
Alphonse Allais.” (Read more)
5. For faculty: Jonathan Pelto’s scathing post on how the State of Connecticut is trying to bust the Connecticut State University faculty union is a must read. “A key strategy that these groups are using is to try and pass laws that
limit a union�s ability to communicate with its members. In this
environment, suggesting that the new contract outlaw AAUP-CSU�s ability
to use their university�s email system to share information with faculty
who are represented by the union is appalling….” And So. Much. More. (Read Pelto)
6. Growing up Ryman. Check out a Wall Street Journal profile of Robert Ryman and his kids–Cordy, Ethan and Will. RR’s solo show at the DIA Foundation in Chelsea opens on December 9, 2015. “The Ryman household, just off Union Square, was a more
obviously vivid place. European curators were always staying in the
guest room. Will and Cordy�s mother, the multimedia artist Merrill Wagner,
frequently took her boys around the city to scavenge construction sites
for materials�the slabs of concrete and boulders she�d use as her
canvases�in an old Volkswagen
van. Ethan�who grew up in SoHo with his mother, the writer and art
critic Lucy Lippard, Ryman�s first wife�would stay over on weekends.
Plants were everywhere. So were works by Ryman�s contemporaries Mangold,
LeWitt and Andre. ‘The place was jammed with art,’ says Cordy. ” (Read more.)
7. Thanks to Ben Davis’s artnet roundup of best October art essays, I discovered that Raphael Rubinstein wrote about a few early adapters of a DIY approach in Art in America last month: “We know that artists
make art, but what about all the other things they do as artists?
I�m not thinking here of the many artists who operate in expanded
fields, artists whose creative process might involve running large
workshops, consulting with scientists or designating some daily
transaction as a work of art. What I have in mind, rather, is someone
like the late Martin Kippenberger, who presented himself in a strikingly
prescient way as a �total service� artist….” Sorry I didn’t point this out sooner. (Read more)
8: A Gentle reminder: Our fundraising campaign continues. Please consider a contribution to support Two Coats of Paint. The more $ we receive, the more posts we can produce in 2016! Click here to donate.
9. Thanks, Brett Wallace, for including me in The Conversation Project. Brett stopped by the studio a while back and we talked about art, social media, and what it means to be an “artist entrepreneur.” Read our conversation here.
——
Two Coats of Paint is licensed under a Creative Commons Attribution – Noncommercial-No Derivative Works 3.0 United States License. To use content beyond the scope of this license, permission is required.
