Morning Links

Morning Links: Babies of Pitchfork Edition

A baby jamming (though not at the Pitchfork Festival).



After going to Spain and looking at photographs from Africa and the Soviet Union—and then some paintings from the past of European art at the Prado—David Byrne found himself wondering about artistic representation in the present day. “So I think to myself that as the makeup of the first world changes, and it already has,” Byrne writes, “museums that implicitly present themselves by saying, ‘This is our culture, this is who we are,’ will have an obligation to reflect what that culture is now. The definition is not static.” [David Byrne]

“What is an art institution’s responsibility when one of its ‘star’ artists is violent towards women?” M Neelika Jayawardane considers the question in a personal essay occasioned by the down-under exhibition “Continental Drift: Black/blak art from South Africa and north Australia.” [Al Jazeera]

The sage experimental musician and soundtrack composer Ryuichi Sakamoto was so aggravated by the music played in his favorite restaurant in New York that he convinced them to let him make playlists of his own. The dream! [The New York Times]


“Bolstered by a robust U.S. economy and newly wealthy overseas buyers, Christie’s International sold $4 billion of art during the first half of 2018, up 35% from the year-earlier period and representing a new six-month high mark for the London-based auction company.” So sayeth Kelly Crow. [The Wall Street Journal]

Here’s the exhibitor list for this year’s Paris edition of the Outsider Art Fair. [ARTnews]


Though details for how it will work remain to be established, Tate Modern is planning some kind of “slow looking” initiative to go alongside a 2019 show of Pierre Bonnard. [The Guardian]

Luc Tuymans curated a show mixing old and new art in “an exercise in luster, mortality, and timeline-smashing” at the Museum of Contemporary Art in Antwerp. [The New York Times]

A writer for the Paris Review paid a visit to Michael Stipe’s show at Journal Gallery in Brooklyn and came away thinking “cynicism is boring. And I still think, god help me, that art is cool.” [The Paris Review]

Artworks in Yves Klein’s signature blue are on show alongside Old Master paintings and historic masterpieces at the 18th-century Blenheim Palace in England. [Smithsonian]

Matthew Shain’s photographs of empty pedestals that once held Confederate monuments are eerie. [New York]


Soccer-art fans, rejoice! “Andrew Esiebo’s ‘Goal Diggers’—an exhibition of photographs on the irrepressible love West Africans have for football—reminds us that the simple desire to chase a ball is one of our commonalities.” [The New York Review of Books]

After the Pitchfork Festival gathered hip (and sometimes kid-bearing) music fans in the Windy City, Chicago magazine ran a slideshow of “The Babies of Pitchfork.” Tagline: “Look at these chunkers!” [Chicago]

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