A grubby, sad story: His Art, Their Ideas: Did Robert Indiana Lose Control of His Work?
I'm still pondering this manifesto in the Harvard Design Magazine by Joanna Kloppenburg and Nicholas Korody (What if we began by admitting that we hated writing this? What if we said we did it because we needed the money? What if we acknowledged that we had fallen out of love with architecture and couldn’t remember why we loved it in the first place?) alongside Anne Helen Petersen's How Millennials Became The Burnout Generation (Those expectations encapsulate the millennial rearing project, in which students internalize the need to find employment that reflects well on their parents (steady, decently paying, recognizable as a “good job”) that’s also impressive to their peers (at a “cool” company) and fulfills what they’ve been told has been the end goal of all of this childhood optimization: doing work that you’re passionate about.)
Conflict of interest much? A late nineteenth-century case less well known than the Elgin Marbles, but more scandalous in its scope, also victimised Cyprus. Luigi Palma de Cesnola was the U.S. consul there and used his consular office to strip Cyprus of a staggering 35,000 items of antiquity. This serial looter sold his collection to the new Metropolitan Museum of New York.
Seb Chan has started an enewsletter.
Saturday, 26 January 2019
Sunday, 20 January 2019
Art News New Zealand Column, Summer 2019
New Year's Resolutions
Early in January, Minneapolis's Walker Art Center posted an intriguing set of opinion pieces on their influential online magazine, under the rubric of New Year's resolutions for museums.
Laura Raicovich (who left the directorship of the Queens Museum last year after growing tensions with the institution's board around her progressive programming) called for a dismantling of the myth of neutrality, and a closer accord between an organisation's values and its operations. This touches every sphere of decision-making, she argues, from repatriation to recruitment decisions: in 2019 "the authority of the museum is being questioned not only in terms of what is collected and how, and what is exhibited and how it is shown, but also how decisions are made and who has the power to make them."
Nicole N. Ivy, educator, futurist and inclusion activist, urged art museums to "to examine who is not being represented in their collections and also reflect on their relationships to wealth inequality", in the pursuit of equity. Ivy cited the Baltimore Museum of Art's announcement last year that it would sell off a small number of collection works by 20th century white male artists to create a fund to buy the work of under-represented artists as an example of a museum "using their resources to expand access and promote the democratic circulation of their collections."
In the hardest hitting of the four short essays, artist and writer Antony Romero argued for long-term planning and work towards social change and representation over short-term profiling and programming: "Developing a program or exhibition that reflects upon or invites dialogue on some contemporary social movement, such as Black Lives Matter, for example, is not the same as investing in the cultivation of black life. It is never a question of representation over resource allocation. Both should be happening at the same time. Programmatic shifts should be taking place at the same time as resources are reallocated to bolster your institution’s commitment to investing in excluded communities." In emphatic prose that I have since seen repeatedly cited, Romero writes "Remember that you are not your institution. An institution is not an organism but an instrument, a tool. It may be a bloodied tool but remember there are no clean tools, only those that still serve a purpose and those that don’t."
Finally, Seb Chan, Chief Experience Officer at Melbourne's ACMI, made one concrete suggestion: do away with salary cloaking. It's not a phrase I'd hear before, but it's a practice I'm very familiar with - not advertising salary ranges and starting pay when recruiting. As Chan notes, the practice benefits those who have the "time and upfront confidence" when applying for roles, and also establishes "an unequal trust relationship between employer and employee which then continues when the employee is hired". Furthermore, inside the workplace, trading insider knowledge of people's pay "embeds individualized competition instead of collective camaraderie". Advertising salaries seems a small and noncontroversial measure, he acknowledges, but this is one of the " very first baby steps towards workplace diversity and community representation", which are going to be needed to face the truly brutal challenges facing society, from racial inequality to climate change.
When I worked in digital, we talked about "full stack" development: a consideration of what we were designing from the deepest backend of the hardware support to the individual actions of users on the frontend of the product. In reading these pieces, I see that same fullstack in operation - the change that all four writers are calling for requires honesty, authenticity and change throughout every phase of a museum's operations, from governance, funding and recruitment to collection development, fundraising and working conditions.
The essays also tap into a rising discussion around burn out, specifically (but not exclusively) focused on the millennial generation, the oldest members of which are now entering their late 30s. At the same time that I was considering the Walker essays, a piece by Buzzfeed reporter Anne Helen Petersen titled 'How Millennials Became The Burnout Generation' was being passed around and around my social network. Petersen's core argument - that burn out is not a temporary affliction but a permanent condition for those brought up to expect their work will be meaningful, even enviable, but working in a context of carrying massive student debt and facing increasing job instability - chimed with a memorable article published by Lucinda Bennett on the Pantograph Punch last April, where she interrogated the idea of 'passionate work' as it applies to the visual arts. When work is redefined as being done for love, Bennett writes, it becomes boundless: "even fulfilling work needs constraints and needs to be remunerated. Without the former, we never have time to rest, to attend to our physical and emotional needs, to spend time with our families and friends. We become burnt out, disillusioned, physically and mentally unwell."
And thus to resolutions. It seems a large task, to dismantle the inheritance of the Western museum and democratise its assets and influence. But as Chan notes, small steps take you somewhere. So when I did my first pieces of recruitment for 2019, I told candidates what the ceiling of the starting salary was, and published salary ranges up front. It's a small step but hopefully one in the right direction.
Read the originals:
https://walkerart.org/magazine/soundboard-4-museum-resolutions
https://www.buzzfeednews.com/article/annehelenpetersen/millennials-burnout-generation-debt-work
https://www.pantograph-punch.com/post/to-be-cared-for
Early in January, Minneapolis's Walker Art Center posted an intriguing set of opinion pieces on their influential online magazine, under the rubric of New Year's resolutions for museums.
Laura Raicovich (who left the directorship of the Queens Museum last year after growing tensions with the institution's board around her progressive programming) called for a dismantling of the myth of neutrality, and a closer accord between an organisation's values and its operations. This touches every sphere of decision-making, she argues, from repatriation to recruitment decisions: in 2019 "the authority of the museum is being questioned not only in terms of what is collected and how, and what is exhibited and how it is shown, but also how decisions are made and who has the power to make them."
Nicole N. Ivy, educator, futurist and inclusion activist, urged art museums to "to examine who is not being represented in their collections and also reflect on their relationships to wealth inequality", in the pursuit of equity. Ivy cited the Baltimore Museum of Art's announcement last year that it would sell off a small number of collection works by 20th century white male artists to create a fund to buy the work of under-represented artists as an example of a museum "using their resources to expand access and promote the democratic circulation of their collections."
In the hardest hitting of the four short essays, artist and writer Antony Romero argued for long-term planning and work towards social change and representation over short-term profiling and programming: "Developing a program or exhibition that reflects upon or invites dialogue on some contemporary social movement, such as Black Lives Matter, for example, is not the same as investing in the cultivation of black life. It is never a question of representation over resource allocation. Both should be happening at the same time. Programmatic shifts should be taking place at the same time as resources are reallocated to bolster your institution’s commitment to investing in excluded communities." In emphatic prose that I have since seen repeatedly cited, Romero writes "Remember that you are not your institution. An institution is not an organism but an instrument, a tool. It may be a bloodied tool but remember there are no clean tools, only those that still serve a purpose and those that don’t."
Finally, Seb Chan, Chief Experience Officer at Melbourne's ACMI, made one concrete suggestion: do away with salary cloaking. It's not a phrase I'd hear before, but it's a practice I'm very familiar with - not advertising salary ranges and starting pay when recruiting. As Chan notes, the practice benefits those who have the "time and upfront confidence" when applying for roles, and also establishes "an unequal trust relationship between employer and employee which then continues when the employee is hired". Furthermore, inside the workplace, trading insider knowledge of people's pay "embeds individualized competition instead of collective camaraderie". Advertising salaries seems a small and noncontroversial measure, he acknowledges, but this is one of the " very first baby steps towards workplace diversity and community representation", which are going to be needed to face the truly brutal challenges facing society, from racial inequality to climate change.
When I worked in digital, we talked about "full stack" development: a consideration of what we were designing from the deepest backend of the hardware support to the individual actions of users on the frontend of the product. In reading these pieces, I see that same fullstack in operation - the change that all four writers are calling for requires honesty, authenticity and change throughout every phase of a museum's operations, from governance, funding and recruitment to collection development, fundraising and working conditions.
The essays also tap into a rising discussion around burn out, specifically (but not exclusively) focused on the millennial generation, the oldest members of which are now entering their late 30s. At the same time that I was considering the Walker essays, a piece by Buzzfeed reporter Anne Helen Petersen titled 'How Millennials Became The Burnout Generation' was being passed around and around my social network. Petersen's core argument - that burn out is not a temporary affliction but a permanent condition for those brought up to expect their work will be meaningful, even enviable, but working in a context of carrying massive student debt and facing increasing job instability - chimed with a memorable article published by Lucinda Bennett on the Pantograph Punch last April, where she interrogated the idea of 'passionate work' as it applies to the visual arts. When work is redefined as being done for love, Bennett writes, it becomes boundless: "even fulfilling work needs constraints and needs to be remunerated. Without the former, we never have time to rest, to attend to our physical and emotional needs, to spend time with our families and friends. We become burnt out, disillusioned, physically and mentally unwell."
And thus to resolutions. It seems a large task, to dismantle the inheritance of the Western museum and democratise its assets and influence. But as Chan notes, small steps take you somewhere. So when I did my first pieces of recruitment for 2019, I told candidates what the ceiling of the starting salary was, and published salary ranges up front. It's a small step but hopefully one in the right direction.
Read the originals:
https://walkerart.org/magazine/soundboard-4-museum-resolutions
https://www.buzzfeednews.com/article/annehelenpetersen/millennials-burnout-generation-debt-work
https://www.pantograph-punch.com/post/to-be-cared-for
Saturday, 19 January 2019
Reading list, 19 January 2019
"Using his own fortune, Verdi built the retirement home for opera singers and musicians, a neo-Gothic structure that opened in 1899. The composer died less than two years later, but he made sure the profits from his music copyrights kept the home running until the early 1960s, when they expired. Today guests pay a portion of their monthly pension to cover basic costs – food and lodging — while the rest comes from donations." I love this so much.
"What role the Rothko served remains unclear to me." I love this a bit less (the trend, not the article). The Rise of the Mindful Museum.
More from the Walker's "Museum Resolutions" series: Laura Raicovich, Dismantle the Myth of Neutrality and Antony Romero's Build Social Relations Over Property Relations
Ted Loos in the NYT: After the Quake, Dana Schutz Gets Back to Work
I'm not sure what to make of this article yet, despite reading it twice. Good to read alongside the Schutz piece above; pity McLean didn't tie it off with Michael Parekowhai's chrome Cook sculptures. Ian McLean, Paper Tigers: The New Iconoclasm and Identity Politics, in Di'van: A Journal of Accounts, issue 4.
"What role the Rothko served remains unclear to me." I love this a bit less (the trend, not the article). The Rise of the Mindful Museum.
More from the Walker's "Museum Resolutions" series: Laura Raicovich, Dismantle the Myth of Neutrality and Antony Romero's Build Social Relations Over Property Relations
Ted Loos in the NYT: After the Quake, Dana Schutz Gets Back to Work
I'm not sure what to make of this article yet, despite reading it twice. Good to read alongside the Schutz piece above; pity McLean didn't tie it off with Michael Parekowhai's chrome Cook sculptures. Ian McLean, Paper Tigers: The New Iconoclasm and Identity Politics, in Di'van: A Journal of Accounts, issue 4.
Saturday, 12 January 2019
Reading list, 12 January 2019
I haven't linked to anything tech-related in ages. But I've been following Shelley Bernstein's thoughtful write-ups of her tech decisions for her workplaces for more than a decade now, and they're always worthwhile. On choosing collaboration tools to bring together a very diverse group: Prototyping a Change Network with the OF/BY/FOR ALL First Wave.
I also don't often link to workplace advice but this NYT article is much better than the title suggests. It actually delves into common issues with time-management and particularly how people get into toxic and stressful situations around things like answering emails - the four general personality types, how each responds to stressors, and how you can improve your instinctive approach. The 4 ‘Attachment Styles,’ and How They Sabotage Your Work-Life Balance.
Also unusual. As with Shelley, I've been following my friend Nat Torkington's 4 Short Links digest for years now. This page of project management aphorisms from NASA has some of your typical engineer machismo, but also some really great insights and timeless advice. 100+ Lessons Learned for Project Managers.
Back on the normal path. This article on the Guardian helped explicate a current artistic movement I've been struggling to wrap my head around, without going PhD-level on it. Political, forensic, hi-tech: how 'research architecture' is redefining art.
Colleen Dilenschneider on why members of cultural organisations don't renew. Valuable for parsing what people really mean when they say things like "I'll sign up again next time I visit".
Seb Chan on salary cloaking (ie. not stating salary ranges in museum job advertising)
My friend the typographer Kris Sowersby, founder of Klim Type Foundry, is one of the most prolific people I know - and one of the smartest. For some purely good writing, check out his design notes on his recent reversed-stress typeface Maelstrom, and Bethany Heck's review of Maelstrom in use.
An interesting set of responses to a question on Twitter about "actual examples" of decolonisation in museums.
And a profile of Kaywin Feldman, gearing up to take over the National Gallery of Art in Washington, bit of a personal hero.
I also don't often link to workplace advice but this NYT article is much better than the title suggests. It actually delves into common issues with time-management and particularly how people get into toxic and stressful situations around things like answering emails - the four general personality types, how each responds to stressors, and how you can improve your instinctive approach. The 4 ‘Attachment Styles,’ and How They Sabotage Your Work-Life Balance.
Also unusual. As with Shelley, I've been following my friend Nat Torkington's 4 Short Links digest for years now. This page of project management aphorisms from NASA has some of your typical engineer machismo, but also some really great insights and timeless advice. 100+ Lessons Learned for Project Managers.
Back on the normal path. This article on the Guardian helped explicate a current artistic movement I've been struggling to wrap my head around, without going PhD-level on it. Political, forensic, hi-tech: how 'research architecture' is redefining art.
Colleen Dilenschneider on why members of cultural organisations don't renew. Valuable for parsing what people really mean when they say things like "I'll sign up again next time I visit".
Seb Chan on salary cloaking (ie. not stating salary ranges in museum job advertising)
My friend the typographer Kris Sowersby, founder of Klim Type Foundry, is one of the most prolific people I know - and one of the smartest. For some purely good writing, check out his design notes on his recent reversed-stress typeface Maelstrom, and Bethany Heck's review of Maelstrom in use.
An interesting set of responses to a question on Twitter about "actual examples" of decolonisation in museums.
And a profile of Kaywin Feldman, gearing up to take over the National Gallery of Art in Washington, bit of a personal hero.
Sunday, 6 January 2019
Reading list, 6 January 2019
Fighting in your weight class: it's stimulating to read big critics robustly taking on big institutions and big shows, as with Peter Schjeldahl for the New Yorker and Roberta Smith for the NYT on the Met's Epic Abstraction: Pollock to Herrera.
Ongoing, from the Macron report on restitution: Jason Farago assembles a roundtable for the NYT, Artwork Taken From Africa, Returning to a Home Transformed; French antiquities dealers slam ‘shocking’ report on restituting African art and The repatriation debate intensifies as calls for post-colonial restitution grow—but is it legal? in The Art Newspaper; Thomas Marks' editor's letter for Apollo, Rethinking the restitution of African artefacts.
And from a different political angle - tensions between France and Italy play out through museum loans: For Italy’s Populists, Everything Is a Nationalist Cause. Even Leonardo.
"Museums are not neutral. Displays of European Art are not neutral. White supremacists know it. We must see it too." Alexander Kauffman for Hyperallergic, Committing to Anti-Racism in Galleries of European Art.
Things I plan to read when I'm back at work (tomorrow, sigh) - Culture 24's latest report from the end of 2018, Understanding the social purpose of digital technology for arts and heritage organisations.
"The food we consume, what we enjoy, how we acquire nourishment, literally all the mechanisms that touch how we eat are fascinating. But the museums of ice cream, pizza, and avocado don’t provide any of that insight". Pissed off by the museum-of-X phenomenon but from another angle; Erin DeJesus for Eater, Fake Food Museums Are Our Greatest Monuments to the Brand Hellscape of 2018.
Ongoing, from the Macron report on restitution: Jason Farago assembles a roundtable for the NYT, Artwork Taken From Africa, Returning to a Home Transformed; French antiquities dealers slam ‘shocking’ report on restituting African art and The repatriation debate intensifies as calls for post-colonial restitution grow—but is it legal? in The Art Newspaper; Thomas Marks' editor's letter for Apollo, Rethinking the restitution of African artefacts.
And from a different political angle - tensions between France and Italy play out through museum loans: For Italy’s Populists, Everything Is a Nationalist Cause. Even Leonardo.
"Museums are not neutral. Displays of European Art are not neutral. White supremacists know it. We must see it too." Alexander Kauffman for Hyperallergic, Committing to Anti-Racism in Galleries of European Art.
Things I plan to read when I'm back at work (tomorrow, sigh) - Culture 24's latest report from the end of 2018, Understanding the social purpose of digital technology for arts and heritage organisations.
"The food we consume, what we enjoy, how we acquire nourishment, literally all the mechanisms that touch how we eat are fascinating. But the museums of ice cream, pizza, and avocado don’t provide any of that insight". Pissed off by the museum-of-X phenomenon but from another angle; Erin DeJesus for Eater, Fake Food Museums Are Our Greatest Monuments to the Brand Hellscape of 2018.
Saturday, 22 December 2018
Reading list. 22 December 2018
An article this week by my colleague Puawai Cairns for the Center for the Future of Museums blog - Decolonisation: we aren’t going to save you. Puawai also pointed this week to an earlier piece of writing by another of our colleagues, Sean Mallon, which is evergreen: Opinion: why we should beware of the word ‘traditional’.
Interesting job going at the Pitt Rivers, showing how deliberate and pointed research can be one of a museum's best tools of self-reflection and correction: the Research Associate - Labelling Matters is being recruited for a project to "dissect and dismantle some of the complex contested words, stereotypes and concepts that are present not only in museums but in society at large."
The V&A's Tristram Hunt must have a very active comms rep: here he is for the end of the year in The Art Newspaper, Museums must confront the big issues. Still a million times better than the dickwad bemoaning Kaywin Feldmen's appointment as director of the National Gallery of Art in Washington this week - he doesn't warrant a link.
And some listening for over the holiday break:
Circuit's end of year round-up is a two-parter this year, featuring Mark Amery, Shannon Te Ao, Simon Gennard and Health Galbraith. Part One: personal highlights, trends, best show // Part Two: biggest surprise, best publication, best writing, best moving image work
Suse Anderson of MuseoPunks interviews Christopher Bedford, director of Baltimore's Museum of Art
Interesting job going at the Pitt Rivers, showing how deliberate and pointed research can be one of a museum's best tools of self-reflection and correction: the Research Associate - Labelling Matters is being recruited for a project to "dissect and dismantle some of the complex contested words, stereotypes and concepts that are present not only in museums but in society at large."
The V&A's Tristram Hunt must have a very active comms rep: here he is for the end of the year in The Art Newspaper, Museums must confront the big issues. Still a million times better than the dickwad bemoaning Kaywin Feldmen's appointment as director of the National Gallery of Art in Washington this week - he doesn't warrant a link.
And some listening for over the holiday break:
Circuit's end of year round-up is a two-parter this year, featuring Mark Amery, Shannon Te Ao, Simon Gennard and Health Galbraith. Part One: personal highlights, trends, best show // Part Two: biggest surprise, best publication, best writing, best moving image work
Suse Anderson of MuseoPunks interviews Christopher Bedford, director of Baltimore's Museum of Art
Saturday, 15 December 2018
Reading list, 15 December 2018
If this year has a theme, it's decolonising museums:
DR Congo to request restitution of works from former coloniser Belgium - The Art Newspaper
Belgium’s Africa Museum Had a Racist Image. Can It Change That? - New York Times
New gallery will be first in a Smithsonian museum to focus on U.S. Latino experience - Washington Post
Senegal unveils China-funded Museum of Black Civilisations - AfricaNews
The Field Museum's Native North American Hall starts to ask who it represents - Chicago Reader
Matariki Williams, Oceania As a Contact Zone, and the Myth of Museum Universalism, The Pantograph Punch
Nicholas Thomas, Should colonial art be returned home? - Financial Times
DR Congo to request restitution of works from former coloniser Belgium - The Art Newspaper
Belgium’s Africa Museum Had a Racist Image. Can It Change That? - New York Times
New gallery will be first in a Smithsonian museum to focus on U.S. Latino experience - Washington Post
Senegal unveils China-funded Museum of Black Civilisations - AfricaNews
The Field Museum's Native North American Hall starts to ask who it represents - Chicago Reader
Matariki Williams, Oceania As a Contact Zone, and the Myth of Museum Universalism, The Pantograph Punch
Nicholas Thomas, Should colonial art be returned home? - Financial Times
Saturday, 8 December 2018
Reading list, 8 December 2018
“I fell into a trap for 10 years or more of trying to educate the non-Native about what Natives were about,” says Gerald Clarke Jr., a Cahuilla artist known for his large welded sculptures. “It’s a trap because the default setting for mainstream America is that the artist is the ambassador of the community, and that almost replaces the interest in the artist’s own creativity.”
Terrible headline, interesting article - Hey, that's our stuff: Maasai tribespeople tackle Oxford's Pitt Rivers Museum.
Designing for Instagram is fully established as a real thing (to wit - Ollie Wainwright's
Snapping point: how the world’s leading architects fell under the Instagram spell). The NGV have just paired M.C. Escher (perhaps one of the most Instagram-adaptable of artists) with design firm Nendo: MC Escher gets another dimension – and a show that plunges you into his obsessions.
Ticketed for later listening: a Slate podcast interview with exhibition designers Lana Hum and Mack Cole-Edelsack of MoMA’s exhibition design and production department.
A really fascinating read: Revisiting Suck magazine’s experiment in radical feminist pornography.
Excellent fluff: What 8 Collectors Wore to a Fall Art and Design Fair.
Nathalie de Gunzburg
Age: 52
Occupation: chairwoman, Dia Beacon
You’re wearing leather.
Yes, I’m wearing a Hermès black leather dress.
It’s very strong.
Of course.
How do you dress for an event like this?
I don’t know. I like the dress, I had it in my closet. I thought, Why not?
Your shoes: Are they python?
Yes. They’re Aquazzura. All my shoes are. And they’re very comfy.
I don’t believe that. It’s like a four-inch heel.
It’s a full-time job to know how to walk in heels.
It's that time of the year: How Pantone Picked ‘Living Coral’ as the 2019 ‘Color of the Year’.
Sunday, 2 December 2018
Reading list, 2 December 2018
Nathan Sentence, who is a project officer in First Nations programming at the Australian Museum, regularly puts out some of the best writing in the sector. Most recently: Diversity means Disruption.
Among the many reactions to Bénédicte Savoy and Felwine Sarr's report to President Macron on the repatriation of African artefacts from French museums:
Return of African Artifacts Sets a Tricky Precedent for Europe’s Museums, featuring Hartwig Fischer (British Museum), Hartmut Dorgerloh (Humboldt Forum) and Prince Kum’a Ndumbe III (AfricAvenir International)
Restitution Report: museum directors respond, featuring Tristram Hunt (V&A), Nicholas Thomas (Museum of Archaeology and Anthropology, Cambridge) and Dorgerloh
Legal challenges remain for restituting African artefacts from French museums
Among the many reactions to Bénédicte Savoy and Felwine Sarr's report to President Macron on the repatriation of African artefacts from French museums:
Return of African Artifacts Sets a Tricky Precedent for Europe’s Museums, featuring Hartwig Fischer (British Museum), Hartmut Dorgerloh (Humboldt Forum) and Prince Kum’a Ndumbe III (AfricAvenir International)
Restitution Report: museum directors respond, featuring Tristram Hunt (V&A), Nicholas Thomas (Museum of Archaeology and Anthropology, Cambridge) and Dorgerloh
Legal challenges remain for restituting African artefacts from French museums
Monday, 26 November 2018
Reading list, 26 November 2018
Better late than never ...
Matariki Williams (curator Mātauranga Māori at Te Papa, Tusk co-founder and The Pantograph Punch contributor) writes about the RA's Oceania for Frieze: Complicating the Narrative of ‘Oceania’.
Follow-up from an earlier link: the Ben Uri Gallery in London is deaccessioning a chunk of its collection to raise funds to widen its remit: the inner circle of trustees has approved this decision, the wider advisory board (stacked with big names) has come out swinging against it: Ben Uri museum advisory board resigns en masse over Sotheby’s sale of works from the collection.
Look for big moves in repatriation next year: from the BBC, 'Stolen friend': Rapa Nui seek return of moai statue; from the Art Newspaper, 'Give Africa its art back', Macron's report says.
I'm considering an overnight trip to Sydney before March especially to see Nick Cave's installation at Carriageworks - Nick Cave on his darkly exquisite new work: ‘Is there racism in heaven?’
Glenn Lowry's contract has been extended at MOMA - if he serves his full term through to 2025, that will be 30 years in charge. He got the job in 1995 when he was 40.
The Gray Market goes deeper into a recent report published in Science about how artists' careers are made or broken on the basis of a small number of key galleries & how fast they get into them. Good graphs. Still my best weekly email newsletter.
A dual interview with Phyllida Barlow and Anna Maria Maiolino in the NYT Magazine, Two Pioneering Artists Discuss Motherhood and Machismo.
Matariki Williams (curator Mātauranga Māori at Te Papa, Tusk co-founder and The Pantograph Punch contributor) writes about the RA's Oceania for Frieze: Complicating the Narrative of ‘Oceania’.
Follow-up from an earlier link: the Ben Uri Gallery in London is deaccessioning a chunk of its collection to raise funds to widen its remit: the inner circle of trustees has approved this decision, the wider advisory board (stacked with big names) has come out swinging against it: Ben Uri museum advisory board resigns en masse over Sotheby’s sale of works from the collection.
Look for big moves in repatriation next year: from the BBC, 'Stolen friend': Rapa Nui seek return of moai statue; from the Art Newspaper, 'Give Africa its art back', Macron's report says.
I'm considering an overnight trip to Sydney before March especially to see Nick Cave's installation at Carriageworks - Nick Cave on his darkly exquisite new work: ‘Is there racism in heaven?’
Glenn Lowry's contract has been extended at MOMA - if he serves his full term through to 2025, that will be 30 years in charge. He got the job in 1995 when he was 40.
The Gray Market goes deeper into a recent report published in Science about how artists' careers are made or broken on the basis of a small number of key galleries & how fast they get into them. Good graphs. Still my best weekly email newsletter.
A dual interview with Phyllida Barlow and Anna Maria Maiolino in the NYT Magazine, Two Pioneering Artists Discuss Motherhood and Machismo.
Wednesday, 21 November 2018
Peter Peryer, 1941 - 2018
 |
| Peter Peryer in his Devonport studio, 1985. Photo by Jim Barr and Mary Barr. |
The artist Peter Peryer died on Sunday. I say 'artist' advisedly, because Peter was a photographer who came of age in the 1970s, when contemporary photography was scrapping its way into the art system: galleries, criticism, the market.
He was a great artist, and also one of the first artists I was able to get to know as a human being, not the subject of an art history lecture. I've been lucky enough to be able to buy a few examples of his work over the years - including a portrait photo of a set of salad servers that was an engagement gift to ourselves over a decade ago now. I was even luckier to be able to work with him when I was director at The Dowse, on the exhibition Peter Peryer: A Careful Eye, beautifully curated by Sian Van Dyk.
It's a cliche to say that artists make you look at the world in a different way, but Peter's visual sense literally infected me. When I'd been spending time with him, my eyes would attune themselves to his imagery, and walking through the world after that felt like being a roving Peter Peryer image-making machine - snap snap snap. He was a characterful and distinctive man, articulate, gorgeously presented, ever so romantic, and possessed of the most wonderfully naughty gurgling laugh. I got to spend Sunday night thinking about him and writing a memorial of sorts for him for Radio New Zealand today, which you can listen to here.
Sunday, 18 November 2018
Reading list, 18 November 2018
Tara Robertson is back in Wellington as a keynote at this week's National Digital Forum, and catching up with her sent me back to her 2016 essay Digitization: just because you can, doesn’t mean you should, on the social and cultural considerations beyond the value of 'open access' when it comes to digitising archival collections, which is still bloody good.
3 Days, 150 Paintings: A Whirlwind Tintoretto Tour - why won't anyone pay me to write pieces like this? (Lots of reasons, really. Good ones, too.)
For my own future reference - historian and New Yorker staff writer Jill Lepore interviewed on her new book, These Truths.
A handy recap: Museums don’t just want gift shops to make money — they want them to shape our understanding of art.
Lisa Martin for The Guardian: Australian cultural institutions struggle to survive as War Memorial gets half-billion dollar upgrade.
3 Days, 150 Paintings: A Whirlwind Tintoretto Tour - why won't anyone pay me to write pieces like this? (Lots of reasons, really. Good ones, too.)
For my own future reference - historian and New Yorker staff writer Jill Lepore interviewed on her new book, These Truths.
A handy recap: Museums don’t just want gift shops to make money — they want them to shape our understanding of art.
Lisa Martin for The Guardian: Australian cultural institutions struggle to survive as War Memorial gets half-billion dollar upgrade.
Dr. Barabási and his team spent the past three years reconstructing the exhibition histories of nearly 500,000 artists, whose work was shown in about 16,000 galleries and 7,500 museums between 1980 and 2016. He and his team also scoured sales held in 1,239 global auction houses from the same 36-year time period.
They used this data to help trace the paths that artists took early in their careers, tracking how one who earned a spot on the roster of Gallery A subsequently got exhibited in Museum B and then Museum C, for example.Kelly Crow's The Surprising Formula for Becoming an Art Star for the WSJ, on a recently published study that over three years researched the exhibition histories of nearly 500,000 artists, whose work was shown in about 16,000 galleries and 7,500 museums between 1980-2016, to map the network of power behind artists who become successful.
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