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Thomas Rowlandson, Boxing Match For 200 Guineas, Betwixt Dutch Sam and Medley, Fought 31 May 1810, on Moulsey Hurst Near Hampton, 1810.
COURTESY THE METROPOLITAN MUSEUM OF ART
Coronations
The 2018 ARTnews “Top 200 Collectors” list is now online. See who made the list and read all about them. [ARTnews]
It turns out, in spite of a curious claim on his part to the contrary, rapper Kanye West will not in fact be teaching a class at the Art Institute of Chicago. [The Chicago Tribune]
March of Time
Christian Marclay’s mesmerizing film collage The Clock is going on view next week at Tate Modern, and the Guardian has an interview with the artist to mark the occasion. Here’s a modest proposal: Put The Clock on view not just in London but everywhere, all the time! [The Guardian]
“I tried to keep an open mind during the press preview for ‘Frida Kahlo: Making Her Self Up’ (through November 4th) at London’s Victoria & Albert Museum. But after observing the #InspiredbyFrida selfie competition, with a frozen margarita prize; after the cactus wall hangings, the bottles of hot sauce, the cans of refried beans stacked in the gift shop; not to mention the staff accessorized with floral garland headbands . . .” [Affidavit]
In California, “Cristopher Cichocki’s art ponders the desert’s ancient oceans and the slow death of the Salton Sea.” [Los Angeles Times]
“Tate outsources artist biographies on its website to Wikipedia.” [The Art Newspaper]
Lettuce Now Praise…
Have you ever seen a lettuce umbrella before? The second installment of a three-part series on “the aesthetics of ugliness”—with an earlier essay on ugly art—takes a leering look at ugly design. [The Paris Review]
Elle has a profile of Celeste Dupuy-Spencer. “I’m an American painter. I make paintings about America,” she says. [Elle]
Music
“Thirty years ago, British youth culture was transformed by acid house music and the drug Ecstasy—with, surprisingly, a little help from a group of flier designers.” [The New York Times]
Pitchfork posted a list of “the 200 Best Albums of the 1980s.” Jean-Michel Basquiat’s band Gray did not make the cut. [Pitchfork]
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