Morning Links

Morning Links: Shock to the System Edition

Édouard Manet, La Nymphe surprise, 1861.



Gary Indiana, Greg Tate, Molly Haskell, and others memorialize the Village Voice, the iconic New York–based publication that shut down last week. The newspaper’s closure, Indiana says, was “a shock to the system,” even if it wasn’t a surprise. [Artforum]

After a complete overhaul, the Canada Pavilion in Venice reopened this summer. Its architect, Alberico Belgiojoso, said he tried to remain respectful of the pavilion’s original structure, adding, “Nature changes, while architecture stays at it is.” [The Globe and Mail]

Mining Art History

A New York court yesterday said that the National Gallery in London rightfully owns Henri Matisse’s Portrait of Greta Moll (1908), not the grandchildren of the woman depicted in the painting. [The Art Newspaper]

The Wall Street Journal profiles Jordan Nassar, whose work relies on embroidery styles derived from Palestinian folk art. “For me they’ve come to be pictures of an imaginary utopian homeland, a place that exists only in the minds of the diaspora,” he says of his work. [The Wall Street Journal]

Shock and Awe

“I’m not necessarily trying to trigger liberals; I’m trying to inspire,” John McNaughton, the Trump administration’s favorite painter, tells Vice News in a new interview. [Vice News]

Currently hanging in Joe Lewis’s 371-foot-long yacht, Aviva, is Francis Bacon’s Triptych 1974 – 1977, which the collector bought for around $34 million a decade ago. [Bloomberg]

Brooke Shields has finally met Richard Prince, who, in 1983, for his work Spiritual America, appropriated a photograph Gary Gross took of the actress in the nude, when she was 10 years old. [Twitter]

The Critics

The first reviews of this year’s Gwangju Biennale are coming in, and they are middling. Hili Perlson writes that the exhibition “falls into the same trap” as a number of big biennials—it’s too sprawling and too ambitious. [Artnet News]

Likewise middling is a Renzo Piano exhibition at the Royal Academy in London, which, according to one review, lacks the “human element” needed for viewers to truly connect to the designs for the architect’s sleek, minimalist structures. [The Guardian]


New York’s James Cohan Gallery has made David Norr a partner. He was formerly the gallery’s director. [James Cohan Gallery]

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