Saturday, 28 April 2018

Reading list, 28 April 2018

Ioana Gordon-Smith for Pantograph Punch: From the Margins to the Mainstream: Pacific Sisters at Te Papa.

I'm fascinated by this model: a NYC dealer gallery, Postmasters Gallery, has launched a Patreon programme to build a kind of supporters club, to sit alongside actual buyers. Covered on (the very good) The Gray Market newsletter and on Artnet News.

Nina Simon has released the full text of her book The Art of Relevance online.

Simon Gennard's beautiful and insightful essay, accompanying his exhibition Sleeping Arrangements, now on at The Dowse. The exhibition bring together the work of four artists (Malcolm Harrison, Grant Lingard, Zac Langdon-Pole and Micheal McCabe) from three different generations, using the pivotal moment of the early years of the AIDS crisis in New Zealand at the start of the 1990s as a context for exploring their work.

I am FASCINATED by LACMA's Collectors Committee Weekend, a fundraising extravaganza in which they raise acquisition funds. I think it should be made into a reality tv show.

Shelly Bernstein writes about how the Barnes Foundation has rewritten visitor guides, visitors rules and host training to manage safe distances in their (small, stuffed-to-the-gills-with-extraordinary-objects) galleries.
It is hard to pick favorites in this exhibition which dishes out so many levels of weirdness my head starts to spin. There are serious book illustrations done for Sinclair Lewis, and a corncob chandelier for a hotel dining room. There is elegant silver work paired with painted metal machine parts wired up as eccentric flowers in clay pots. And learning details from the catalog about his life, like the tale of him attending a costume party dressed as an angel with wings, a pink flannel nightie and a halo, makes a definitive understanding of this work fruitless.
A fun and provocative review of Grant Wood: American Gothic and Other Fables at the Whitney Museum by Dennis Kardon for Hyperallergic.

Sunday, 22 April 2018

Reading list, 22 April 2018

“The Turner Prize changed all sorts of things,” she said. “Now, if I say I want something, people try and do it for me, and that’s never happened to me in the whole of my life.”
Hettie Judah on Lubaina Himid: She Won the Turner Prize. Now She’s Using Her Clout to Help Others.

This has been passed around incessantly (and deservedly) but I'm dropping it in here for future references: Junot Díaz's The Silence: The Legacy of Childhood Trauma.

Read anything Kyle Chayka writes: Style Is an Algorithm.

I honestly can't tell if the profession will learn from this, or beat its collective head against its collective desk (probably both, to be fair): What Is a ‘Narrative Art Museum’? 6 Things to Expect From George Lucas’s New LA Museum.

This sounds like sheer horror to me, but I am a known kill-joy: The Post-Millennial Generation Is Here … and they're working at the Museum of Ice Cream. You might as well pair that with this recent Hyperallergic piece by Mitchell Kuga, How Corporations Harness — and Hijack — the Idea of the Museum. And seeing as we're on the topic, from the Culture™ newsletter: Must the museum be defended from branded content?
Honestly, I don’t expect my work to survive 100 years. Let it perish if it’s perishable. It’s like an emotion. Can you preserve an emotion for 100 years?
Palette cleanser: a recent interview with Sheila Hicks by Anicka Yi.




Saturday, 7 April 2018

Reading list, 7 April 2018

In light of Helen Molesworth's abrupt departure from LA MOCA, apparently because of tension between her programming priorities and those of the museum, her article Art Is Medicine on Simone Leigh's work for the February issue of ArtForum makes interesting reading:
To be situated outside of the main event, to be refused entry, to be placed in a position of radical unknowing—these are deeply interesting aspects of Leigh’s work for me as a white woman. And perhaps more to the point, this is the position from which I must engage with the work, and it is demonstrably different from the place I typically occupy, marked as it is by my status as insider, learned, knowledgeable, comfortable. For centuries, all of culture’s agents—its makers, benefactors, and audiences—have been presumed to be white men, and for centuries, Leigh’s primary audience, black women, were denied a place in this hegemonic structure. This was not a victimless crime. There are ramifications. And one of them, Leigh suggests, is a profound need for intimacy and privacy, for secrecy, for going underground.
Grim: Inquiry launched into Canberra's museums, galleries after funding, staff cuts

Grimmer: V&A opens dialogue on looted Ethiopian treasures. For god's sake, just send them home.

Sure, why not: Picture Yourself at the Museum of Selfies

The writer's method: Anne Helen Petersen's How I wrote about the Nashville Bachelorettes (she is so worth following on Tiny Letter)