They don't write 'em like this anymore (the review I mean - I've yet to handle the book): Simon Palenski on Peter Simpson's Bloomsbury South for the Pantograph Punch.
It’s a finely tuned and self-perpetuating system: Elite collectors, galleries and museums routinely work together to maintain the blue-chip reputations of artists they’ve invested in. The present exhibition is a perfect example of the system at work — a system, not just incidentally, that for whatever reason has been benefiting male more than female artists for a long time.Adding to the common refrain of how blue-chip donations of blue-chip collections from blue-chip collectors to blue-chip museums keeps adding the the excellent showing of art by white dudes: 51 Contemporary Artists, but Just Three Women by Ken Johnson for the New York Times.
Awwww. I'm not usually the sentimental type but this story about two American museum directors falling somewhat awkwardly in love later in life is so great.
Unveiling the history of the "Crook Cook"- an intensive piece of reporting by Kayla Dalrymple for the Gisborne Herald on the bronze copy of a marble sculpture of James Cook which has stood in Cook Plaza since 1969. Comes with an illustrated timeline.
An obituary for designer and editor Jane Thompson in the NYT led me to this piece on I.D. Magazine; established in 1954 as a journal for industrial designers, Thompson was the first co-editor, along with Deborah Allen.
The winner of this year's Tate Britain prize for a digital project that explores and showcases their collection scans Reuters photos of news events and matches them to artworks.
Using VR to capture ghost train rides before they're decommissioned - this piece feeds into a lot of thoughts I'm having about how to capture experiences of exhibitions / artworks at the moment.