Morning Links: New Pace Gallery Edition

Architectural rendering of 540 West 25th Street, New York.  COURTESY BONETTI/KOZERSKI STUDIO

Architectural rendering of 540 West 25th Street, New York.


Pace Gallery will be renovating their Chelsea gallery at 540 West 25th Street, to begin in December 2015 with an estimated completion date of fall 2017. The gallery will take up 40,000 square feet of space in a new 60,000 square-foot building designed by Bonetti/Kozerski and constructed by Weinberg Properties. Their new location will feature column-free galleries, a public library on the ground floor, a terrace, an open storage system for art previously accessible through private viewing only, and a 5,000 square-foot gallery with 20-foot tall ceilings for rotating exhibitions. [Artforum]

The new Whitney Museum of American Art, two and half times the size of its former Marcel Breuer-designed location,  will open in the Meatpacking District on May 1st. Read all about the new Renzo Piano-designed building here. [The Art Newspaper]

A Luciano Fabro exhibition at the Museo Nacional Centro de Arte Reina Sofía in Madrid, curated by João Fernandes and Silvia Fabro. [Contemporary Art Daily]

Saudi Arabian Jihadists are being treated with art therapy. [NPR]

Contemporary, San Francisco-based dealer Paule M. Anglim died on Thursday. Anglim was known as a major proponent of Beat-era Conceptualism, and is credited with the discovery of artists such as John Beech, Nayland Blake, Vincent Fecteau, and John Zurier. [Artforum]

Beginning this week, Art X Detroit, a free festival celebrating the Detroit art scene, will feature visual art installations, dance, musical and theatrical performances, film screenings, literary readings and workshops. The festival will continue for three weekends in April. [ABC News]

An interview with Hans Ulrich Obrist, Douglas Coupland and Shumon Basar on their new book, Age of Earthquakes. [Dazed Digital]

“Every afternoon at four o’clock, people gather on the third floor of the Harvard Art Museums to watch them turn off the Rothkos.” [The New Yorker]

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