[ad_1]
Robert Indiana’s Amor at the National Gallery of Art in 2013.
ELVERT BARNES PHOTOGRAPHY/FLICKR
News
Robert Indiana, the Pop purveyor of love, hope, and American darkness, has died at the age of 89. [ARTnews]
A lawsuit was filed before Indiana’s death accusing two men of tainting his legacy. [The New York Times]
The New Yorker has the story of how Chris Ofili’s The Holy Virgin Mary made its way into the collection of MoMA after having irked New York mayor Rudy Giuliani lo so many years ago. “When we acquired the work and put it in front of our committee,” curator Laura Hoptman says, “it looked like it had descended from Heaven.” [The New Yorker]
The Rothko Chapel in Houston, Texas, was vandalized, with white paint and handbills reading “It’s okay to be white” strewn around Barnett Newman’s Broken Obelisk. [The Houston Chronicle]
The Nigerian art scene is booming, according the Los Angeles Times. “As the economy has surged—diversifying from oil into manufacturing, telecommunications and a thriving film industry to give Nigeria the biggest gross domestic product in Africa—so has interest in fashion, music and art.” [Los Angeles Times]
Considerations
The Paris Review has an appreciation of Miyoko Ito after a show of her paintings at Artists Space in New York. A taste: “Ito’s work is brilliantly sui generis: it touches on the familiar styles of surrealism, minimal abstraction, and synthetic cubism to create meditative color spaces of intermingling forms that allude to landscapes, sexual organs, and urban architecture.” [The Paris Review]
The New York Review of Books goes in on the subject of an Institute of Contemporary Art show in London: Forensic Architecture, a Goldsmiths College-based group that “seeks to use forensic methods of evidence-gathering and presentation against the nation states that developed them.” There’s some Hito Steyerl in there too. [The New York Review of Books]
In the Guardian, Jonathan Jones doesn’t get Anton Gormley and fantasizes about giving him a grilling—with lines like “I don’t want to hear a lot of vacuous guff about ‘activating spaces’ and ‘undermining our assurance about the stability of the world.’ ” [The Guardian]
In the Washington Post, Philip Kennicott reviewed “Black Out: Silhouettes Then and Now” at the National Gallery in Washington, D.C., and called it “a fascinating show that successfully uncovers the strange cultural history of the form, especially its intersections with the foremost social crisis of the age, which was slavery.” [The Washington Post]
Misc.
The rapper A$AP Rocky teamed with Calvin Klein and Sotheby’s in New York to present Lab Rat, a performance art piece that doubled as promo for his new album. [The Fader]
Check out a slideshow of images from the journal and book MFON: Women Photographers of the African Diaspora. [The Guardian]
Want to know how to remove tape from artworks? There’s an article for that. [The Atlantic]
[ad_2]
Source link