Morning Links

Morning Links: Andrew Bolton Edition

Bolton. COURTESY METROPOLITAN MUSEUM OF ART

Andrew Bolton.

COURTESY METROPOLITAN MUSEUM OF ART

THE MET’S COSTUME INSTITUTE

Andrew Bolton, the Metropolitan Museum of Art’s Costume Institute curator, gets the profile treatment. “I still think that there’s a bias, a prejudice against fashion, among certain curators in the museum but also among critics outside,” he says. [The Washington Post]

NEW MARKETS

Katya Kazakina provides an inside look at why auction houses are paying millions to sell masterpieces. In an effort to reel in more hot-ticket works, Sotheby’s and Christie’s are fronting money with the hopes of wooing major collectors. [Bloomberg]

Gagosian Gallery and Lisson Gallery are beginning to check out the art scene in Tehran. Both galleries have lent works by artists they represent to a local show in the Iranian capital. [The Art Newspaper]

In its second year, the Seattle Art Fair has grown to 80 exhibitors. This year’s fair brings some notable new galleries, among them Roberts & Tilton and Marlborough Gallery. [The Seattle Times]

Lauren Cornell on João Enxuto and Erica Love’s Institute for Southern Contemporary Art (ISCA), “a proposed artist platform tailored to optimize the creation of art for market consumption.” [Rhizome]

NEW POSTS

Antonia Carver has been named the new director of Art Jameel. She recently resigned from her post as the director of Art Dubai. [Artinfo]

Martin Eisenberg, the vice president of Bed Bath and Beyond, has been named the chair of Bard’s Center of Curatorial Studies. [Artforum]

ARCHITECTURE AND DESIGN

Renzo Piano and Elemental are among the finalists in a competition to design the Doha Mill Art Project in Qatar. [Designboom]

EXTRAS

Phil America has made an installation about gun violence in America in an abandoned subway station under Nevins Street in Brooklyn. Placed in what the artist calls “a gallery space for no one,” the installation features flags that have embroidered guns on them. [Curbed NY]

Rolf Nowotny at Christian Andersen. [Contemporary Art Daily]

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