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A visitor walks by paintings during a preview at Christie’s in Beijing.
HOW HWEE YOUNG/EPA/SHUTTERSTOCK
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News
“Rebecca Wei, one of the most senior Chinese executives in the auction world, has resigned just eight months after being named Asia chairman of auctioneers Christie’s,” South China Morning Post reports. [South China Morning Post]
Art
On the occasion of a Lee Krasner exhibition in London, Jason Farago writes that the undersung Abstract Expressionist “might have been the most intelligent of the painters who convinced the world in the late 1940s that New York had displaced Paris as the epicenter of modern art.” [The New York Times]
Christopher Knight likes the show of “Desert Painters of Australia” at Gagosian in Los Angeles. “Think of them as outliers at your peril,” he writes. [Los Angeles Times]
“Butter makes everything better,” writes ARTnews executive editor Andrew Russeth. View an extensive survey of butter sculptures from the Iowa State Fair. [ARTnews]
Nadja Sayej wrote about Alvin Baltrop, the New York photographer who so memorably documented gay life on Manhattan’s West Side piers. “Alvin photographed the LGBTQ community differently than Robert Mapplethorpe, who shot them in a very explicit and glamorization of the S&M culture,” said Bronx Museum curator Sergio Bessa. “Baltrop wasn’t about that. He saw sexual freedom.” [The Guardian]
Of “Renoir’s problem nudes,” Peter Schjeldahl writes, “An argument is often made that we shouldn’t judge the past by the values of the present, but that’s a hard sell in a case as primordial as Renoir’s.” [The New Yorker]
Read an appreciation of Fra Angelico, the 15th-century Italian artist who “invented emotional interiority in art; laid the stylistic groundwork for Michelangelo, Leonardo da Vinci, and Mark Rothko; and theorized a utopian world—in which everything and everyone is ultimately linked.” [The Paris Review]
The Future
Sneakerheads, rejoice: “At Sotheby’s, Miles S. Nadal indulges a new obsession with gazillion-dollar shoes, whose provenances run from Pharrell to Kylie Jenner and Michael Jordan.” [The New Yorker]
Emily Watlington reviews two shows about gender and technology: “Producing Futures: An Exhibition on Post-Cyber-Feminisms” at the Migros Museum in Zurich and “Hysterical Mining” at the Kunsthalle Vienna. “While both exhibitions presented a rich and varied selection of work,” she writes, “their heavy-handed framings missed the chance to add some nuance to this theoretical trend.” [Art in America]
Misc.
The A.V. Club holds forth on a public artwork in New Zealand that it distinguishes as “a giant statue of a human hand with a f*****-up face stuck on it.” [The A.V. Club]
Cineastes, plan ahead: Film at Lincoln Center in New York is prepping a career-spanning retrospective—the largest to date—of work by the late director and artist Agnes Varda that runs December 20 through January 9. [Film at Lincoln Center]
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