This week we have links to the 2016 Shandaken residents, publication news, Art Basel Hong Kong, the NADA New York roster of exhibitors, the Turner Prize, Greg Allen mischief, recommended reading, an introduction to a new artist’s vlog. First, news from Theodore:Art: The gallery in Bushwick where I recently had a solo show has joined ARTSY.
Even the best galleries in Bushwick have trouble getting collectors to venture beyond the Lower East Side. The increasing unreliability of the L Train may exacerbate the problem. So some enterprising galleries, like Theodore:Art, have joined ARTSY. Now young collectors can buy work from Theodore’s outstanding exhibitions online. She invariably presents important, cogent work, locked into the contemporary dialogue.
[Image at top: Michelle Vaughan, King Philip III, Margaret of Austria, 2015; colored pencil, 17 x 14 inches; now on view at Theodore:Art. Vaughan’s sly, thought-provoking show, on view through next weekend, explores power, politics, and history through the lens of inbreeding within the Spanish-Austrian Habsburg dynasty. ]
The Shandaken Project at Storm King has announced their 2016 residents. Congratulations to Amelia Bande, Andrianna Campbell, Danielle Dean, Taraneh Fazeli, S Gernsbacher, Shana Hoehn, Kristen Jensen, Kathryn Kerr, Zav� G. Martohardjono, Sarah McMenimen, Dylan Mira, Oren Pinhassi, Xu Wang, Rebecca Ward, Lachell Workman.
Publication news: Scott Indrisek and Rachel Corbett named new Editor-in-Chief and Executive Editor, respectively, at Modern Painters. Read more.
Art Basel Hong Kong is under way. Curators Li Zhenhua and Alexie Glass-Kantor have divided the events into sectors: Galleries, Insights, Discoveries, Encounters, Film, and Magazines. Look for plenty of coverage on Instagram. Check out the participating galleries here. According to ARTSY, “Monday night�s substantial collector crowd and reports of strong sales
would seem to belie any concerns surrounding neighboring mainland
China�s ongoing economic uncertainty.” Read the rest of the report here, but take it with a grain of salt. artnet News has pictures here.
Blouin ArtInfo’s blog In the Air has introduced a semi-regular column called “Broken Social Scene” in which the bloggers “comb social media for the most perplexing arguments and nonsensical dust-ups that the online art world has to offer.” This week Scott Indrisek reports on Dave Hickey’s Facebook post about diversity. Read here.
NADA New York has released its list of exhibitors.
Wise ass-brilliant artist Greg Allen declares as a “piece” a commercially produced Richter print, framed with broken glass and held together with black tape, that he saw at the Hirshhorn a few years ago. But he wonders where it is. The framed print is of the 1986 painting A B Dunkel, or Abstraktes Bild Dunkel (Dark), (CR: 613-2). Allen must have taken the image above when he saw it at the Hirshhorn in 2010…? Read more.
Nominate artists for the Turner Prize. They must be British and under the age of fifty. Click here. (via artnet)
What I’m reading: J gave me Dave Hickey‘s new book of essays, 25 Women: Essays on Their Art, for Valentine’s Day and I’ve just started reading it. Then, yesterday as I was heading out for my first visit to the Met Breuer to see the “Unfinished” exhibition (loved it), I found the catalog for “Drift,” Raoul De Keyser’s show at Zwirner, on my doorstep. The slim volume features several remembrances from close friends with lots of images of work in the exhibition. Many thanks to Ian at Zwirner.
Video interview: Painter Jesse Ruiz has started a daily vlog, and on Wednesday she stopped by my DUMBO studio to talk about artists and social media. The noise from the B and D trains rumbling past was so loud that she had to add subtitles. Click here to watch (Click CC in the bottom right menu bar of the video to add the subtitles). And, in case you were curious, at 6:35 I talk about the Good Morning! drawings I’ve been posting on Instagram.
Related posts:
Recreating Richter’s destroyed paintings
Web world: The New Museum’s 2015 Triennial
——
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.
