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Doug & Mike Starn's "Installation View, Bbú Juju MV4 (Big Bambú fragment from Metropolitan roof installation)," 2010-2011
– THE BIG STORY –
The big story today is actually our coming piece on the ADAA fair, which opened at the Park Avenue Armory last night, so in its stead here’s a sneak-peek slide show of 30 artworks to look out for at the Armory Show, which is having its VIP opening this afternoon. Also, Artinfo has a nice guide to cheap places to eat while traipsing from fair to fair this week, to which we’d like to add a recommendation of our own: When in Chelsea for Independent on Thursday, check out the new Porteno restaurant on 27th Street and 10th Avenue, where they serve a mean “comida completa.”
– QUOTE OF THE DAY –
“I think it is changing a lot, but I think it is important to recognize that it is only changed very recently and there is still work to be done.” – Artist Sarah Sze on the historical imbalance between the way male and female artists are valued by curators, collectors, and the art audience at large.
– MUST READ –
You DON’T Want a Bad Review From This Guy – Thirteen-year-old Freddie Holker, the winner of the Guardian‘s young art critic competition, ends his review in the paper of David Shrigley‘s Hayward Gallery survey with the words “don’t worry David, I don’t want to kill you.” (Guardian)
State Pride? – Missouri Republican Steve Tilley wants to have a bronze statue of abhorrent right-wing shock-jock Rush Limbaugh installed in the state Capitol, arguing that the site is “not the ‘Hall of Universally Loved Missourians,’ it’s the Hall of Famous Missourians.” (LAT)
Chagalls to Get Brush-Up – The Bank of America Merrill Lynch finance conglomerate is sponsoring the restoration of five paintings by the Jewish artist at the Tel Aviv Museum of Art, which he helped to found. (Bloomberg)
Big-Tent Criticism – This year’s Whitney Biennial has split the art world along unusual, hard-to-define lines, and Ariella Budick diplomatically rises above the fray in her (positive) review, writing, “I’ve come to think that judging the quality of the Whitney Biennial misses the point of this typically maddening event.” (FT)
Speaking of the Biennial – Brian Seibert kindly offers a description of Sarah Michelson‘s Devotion Study #1 dance performance in the show, which is nice because who is going to actually have time to see all of that stuff? (NYT)
– ART MARKET –
Frieze NYC Design Revealed – Justin Davidson offers an advance look at SO-IL‘s design for the hotly anticipated fair debuting this May on Randall’s Island, and from above the elegant, sinuous tent resembles a hypermodern take on the Great Serpent Mound. (NYM)
Shark Food – Writer and artist’s model Michael Miller has helpfully gone through the Financial Times‘s “Lunch With the FT” column to ferret out details of what power dealers from Larry Gagosian to Helly Nahmad like to eat. (Gallerist NY)
The Market’s Gone to the Dogs? — Two paintings of canines broke records at Bonhams‘s annual doggy art auction, with William Henry Hamilton Trood‘s Hounds in a Kennel—19th-century painting of a bunch of dogs looking at a bird—retrieving $212,500, we Shih Tzu not. (AP)
– IN & OUT –
The Madison Square Park Conservancy has named Martin Friedman, formerly the director of Minneapolis’s Walker Art Center, as its new full-time curator; the position will be supported by a staggeringly generous $2 million endowment.
The Arts Council of New Orleans has selected Massachusetts sculptor Douglas Kornfeld to create 17 artworks that will be displayed around the city at hurricane evacuation points. (Boston Globe)
The Getty Museum has received 25 Ansel Adams prints for its collection from the heirs of Los Angeles collectors Marjorie and Leonard Vernon, bringing the institution’s holdings of the photographer to 65. (LAist)
– VIDEO –
Watch Reuters finance blogger Felix Salmon say some rather extreme things about Gerhard Richter‘s masterful paintings—like “This isn’t art, it’s interior design for the private-jet crowd”—in an otherwise sensible commentary on the relationship between auction prices and art-historic staying power.
