Morning Links

Morning Links: The Over-50 Is the New Under-50 Edition


A road sign in England.



Anish Kapoor spoke out against yesterday’s formal declaration for the next step for Brexit at the opening of a show in London. “Frankly,” he said, “nationalism diminishes ourselves.” [The Art Newspaper]

On Kaya Mar, a professional portraitist in London who now makes paintings to tote to local protests. [London Review of Books]

Over-50 is the new under-50 thanks to a rules change allowing artists of any age to compete for England’s Turner Prize. [The Guardian]

A list of the 50 best Britpop albums for the would-be punter. [Pitchfork]


A story about Donald Judd’s work as a designer as more of his furniture makes its way into the world. [WSJ Magazine]

Hari Kunzru talks to Frieze editor Dan Fox about White Tears, a new novel about two guys who make a fake blues record from the 1920s and enter into a racially charged hauntological sphere. [Frieze]

Jason Farago sees a play about the art world and, after considering it amid other fantasy works of theatrical and cinematic varieties, makes a case for a better means of understanding the subject: “reported non-fiction.” Hallelujah! [The New York Times]


Contemporary art rules the roost at major museums more than before, with 44 percent of shows in a new survey devoted to artists active after 1970. [The Art Newspaper]

Political positioning is moving more and more into art in Hong Kong, as the city’s links to China come under more and more strain. [The New York Times]


“Designer toys” with hefty price tags and claims to collectibility might be regarded as art—especially varieties like a Kid Robot line made with a license from Andy Warhol. [The New York Times]

Art historian George Baker weighs in on the Emmett Till/Dana Schutz situation at the Whitney Biennial. [Texte zur Kunst]

Art historian Kellie Jones in conversation with LaToya Ruby Frazier. [Aperture]

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