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News

Staff members at the Jewish Museum in New York penned an open letter calling for greater diversity within the museum and for the museum to “acknowledge the ways systemic racism is replicated within our institution.” [The Art Newspaper]

Oxford University’s Oriel College voted to remove a statue of British imperialist Cecil Rhodes and establish an inquiry into issues around the statue. [The Guardian]

Style icon Tremaine Emory, who also goes by Denim Tears, spoke to GQ about a pair of Chuck Taylors he designed inspired by David Hammons’s iconic African-American Flag—and why they might never hit the market. [GQ]

Art Market

Katya Kazakina checks in with art dealer Christophe Van de Weghe, who instead of traveling to Basel this year has relocated to the Hamptons and participating in the Art Basel fair from there. “Everybody is a VIP here,” Van de Weghe said. [Bloomberg]

Canceled because of the coronavirus pandemic, Art Basel launched its online iteration yesterday during the first of two VIP days. Several dealers reported robust sales, which they hope continue through the fair’s run, which ends June 26. [ARTnews]

This week, Xavier Hufkens opened his third gallery in Brussels, about a 320-foot walk from his existing spaces. Hufkens had considered expanding abroad, but opted to stay close to home: “You cannot be ubiquitous, I cannot be everywhere at once.”  [The Art Newspaper]

Artists

With his new project called A Counting, Ekene Ijeoma is hoping to create a “voice portrait” to celebrate the diversity of New York, as well as discuss how the  census historically underrepresents people of color. [Artsy]

Rianna Jade Parker writes about the rarely seen but important documentary about the U.K.’s Broadwater Farm uprising, called The People’s Account (1985), which can be streamed for free on Vimeo. [Frieze]

Photographer Elle Pérez speaks with curator Marvin Heiferman about how Nan Goldin edited her famed The Ballad of Sexual Dependency slideshow into a book. [Aperture]

Opinion

Architect Florian Idenburg writes that art museums boarding up their windowed lobbies sends the wrong message. [Artnet News]

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