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A rendering of Peter Zumthor’s Los Angeles County Museum of Art redesign.
COURTESY ATELIER PETER ZUMTHOR/THE BOUNDARY
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The Critics
Christopher Knight wonders about pragmatic and aesthetic issues related to hanging paintings on concrete walls, as seems to be called for in LACMA’s planned new museum design by Peter Zumthor. [Los Angeles Times]
Andrew Russeth on the 2019 Whitney Biennial: “It is a very polite Biennial . . . and a fairly mixed affair. At times, it nearly becomes anodyne or boring, but then jolts of electricity—and visual delectation—arrive.” [ARTnews]
Market
Judd Tully reports from a Christie’s Impressionist and modern art sale in New York, where a racy Balthus painting sold for $19 million, creating a new auction record for the artist. [ARTnews]
Office Baroque gallery in Brussels now represents photographer John Divola. [Press Release]
Kelly Crow: “As New York’s spring auctions kick off this week, a new crowd of investors is bidding on works they secretly hope to lose.” [The Wall Street Journal]
Biennale Watch
Jason Farago recommends three pavilions at the Venice Biennale, writing of the award-winning Lithuanian Pavilion, “This year’s showstopper, whose deep ecological engagement comes with irrepressible joy, is one of the hardest to find.” [The New York Times]
Meanwhile at the Lithuanian Pavilion: A bomb threat there on Sunday was declared a false alarm. [The Art Newspaper]
Some have remarked that this year’s Biennale is less commercial than prior exhibitions, but, Scott Reyburn writes, if you know where to look, you can still find ways of buying pieces similar to the ones on view. [The New York Times]
Site-Specificity
“What Happens When Site-Specific Art Outlasts Its Surroundings?” [T: The New York Times Style Magazine]
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