Morning Links

Morning Links: Late-Night Art Edition

The ICA London, where some of London's Art Night events will be held. VIA WIKIMEDIA COMMONS

The ICA London, which will curate this year’s Art Night program.



London arts organizations are planning an Art Night for this summer. Inspired by Paris’s “nuits blanches,” Art Night will allow Londoners to stay up late and see art events until the wee hours of the morning. Works by Joan Jonas, Nina Beier, and Laure Prouvost are already being planned. [The Guardian]

Ai Weiwei will have his first show in Greece at the Museum of Cycladic Art in Athens. In the show, which is intended as a mini-survey, Ai will debut works made in response to the refugee crisis. [The Art Newspaper]

São Paulo’s SP-Arte fair will have 140 exhibitors this year and a new design section. [The Art Newspaper]

Shimon Minamikawa at Misako & Rosen in Tokyo. [Contemporary Art Daily]


Here’s everything you need to know about Hayden Dunham, an up-and-comer who has a two-person show with Nicolas Lobo at Red Bull Studios in New York. [The New York Times]

Larry Bell, Ed Bereal, and Ed Moses discuss the L.A. art scene in the ’60s. “There was kind of a hostile thing about the relationship between us and the gallerists who were representing us but giving more action to the New York artists,” Bell recalls. [The New York Times]


The Dia Art Foundation has received a whopping $735,000 grant from the Andrew W. Mellon Foundation. [Artforum]

For its inaugural set of grants, the Mike Kelley Foundation awarded $310,000 to nine Los Angeles nonprofit art organizations. [LAist]


3-D printing is able to do more than simply copy art. It can also more accurately replicate the texture and surfaces of paintings. [Tech Culture]


The new issue of E-Flux is stacked with great essays. One of the best is Hito Steyerl’s “A Sea of Data: Apophenia and Pattern (Mis-)Recognition,” which is about hidden images in surveillance data. [E-Flux]

Meanwhile, in that same issue, Ben Davis has an interesting essay about connoisseurship and critique. “Everywhere consumers are being encouraged to interpolate themselves as connoisseurs. Indeed, the recent past has conjured up entire new fields of connoisseurship, as if by magic,” he writes. [E-Flux]

“One might say—this is the best one can say—that we respond to music, as to all art, out of our own experience, and that, in America, racial identity is experience. Both points are true, so true that they’re truisms—but, like most truisms, they don’t get you very far.” [The New Yorker]

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