Morning Links

Morning Links: Maiden Name: Dracula Edition

Vincent Sardon’s The Stampographer, published by Siglio Press.

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Inside/Outside

ARTnews reports that Ralph Rugoff will be the curator of the Venice Biennale in 2019. [ARTnews]

The architecture firm of Rem Koolhaas has designed a new flexible exhibition space for the permanent collection of the Stedelijk Museum in Amsterdam. “Named Stedelijk BASE,” ArchDaily reports, “the bespoke display system is constructed from ‘very thin yet solid’ free-standing steel partitions that interlock like puzzle-pieces to create an open-ended flow.” [ArchDaily]

ARTnews has the exhibitor list for the Outsider Art Fair slated for New York in January 2018. Now in its 26th year, the fair will feature 63 galleries from seven countries. [ARTnews]

Border Crossings has an interview with Richard Serra on the occasion of his latest show at David Zwirner. Walking “into, through, and around” his sculptures is a subject discussed. Also: “Emerson’s essay Self-Reliance from 1841, with its emphasis on independence and nonconformity, was an early guide to which he has adhered since his student days.” [Border Crossings]

Icons

“The 93-year-old doyenne of Iranian art, Monir Shahroudy Farmanfarmaian, has donated more than 50 of her works to a new museum dedicated to her oeuvre in Tehran,” the Art Newspaper reports. That new home: the Monir Museum, which opens today in a former 19th-century palace and counts as “the first institution in Iran devoted to a single female artist.” [The Art Newspaper]

The New York Times has a story bylined from Berlin about Hito Steyerl, who “represents a new paradigm of the artist not as solitary genius but as networked thinker.” “In her films, lectures and essays,” the story says, “Ms. Steyerl, 51, has never shied from revealing the secrets she uncovers. She illuminates the world’s power structures, inequalities, obscurities and delights. She pushes buttons as she spins parables.” [The New York Times]

Also for the New York Times, Roberta Smith reviews “Josef Albers in Mexico,” which he calls “a quietly stunning exhibition at the Guggenheim Museum that contrasts Albers’s little-known photographs of the great Mesoamerican monuments of Mexico with his glowing abstract paintings.” [The New York Times]

Artists

The Paris Review has a story about Vincent Sardon, an artist who makes stamps—the wooden kind covered with rubber and ink—into tools for strange transmissions. Among the many messages collected in a new book chronicled by Dan Piepenbring are “Maiden Name: Dracula,” “You were less insufferable when you were still drinking,” and “1978 Man of the Year.” [The Paris Review]

About Minor White, the subject of a handsome photo gallery, the Guardianwrites, “In 1937, this son of a book-keeper and dressmaker moved from Minnesota to Portland, where he chronicled soon-to-be demolished 19th-century buildings – developing a vision that would influence countless photographers to come.” [The Guardian]

Etc.

A new group show in Russia titled “SUPERPUTIN” features 30 artists in thrall to the country’s leader. “Organizer Yulia Dyuzheva told the news outlet Agence France Presse she views Putin as not only a superhero,” Business Insider reports, “but a super leader, a view not uncommon in Russia where the president has a remarkably high approval rating.” [Business Insider]

A 66-story building near the base of the Brooklyn Bridge will be David Adjaye’s first tower in Manhattan. “All in all, the project’s cast-concrete facade will shroud 244 luxury residences,” The Architects Newspaper reports. [The Architects Newspaper]

The Guardian has a review of a new career-spanning collection of singles by the Fall, an English post-punk band that lots of artists like. [The Guardian]

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