Morning Links

Morning Links: Artwashing Edition

Boyle Heights graffiti.



MoCA Toronto will reopen at the Tower Automotive Building this Saturday, a building with a “front porch-feel,” as described by director Heidi Reitmaeir, featuring newly acquired works by artists such as Awol Erizku,  Tania Bruguera, and Barbara Kruger. [The Art Newspaper]

Yoshkar-Ola’s Memorial National Museum of Gulag History has been shut down by Russian authorities. The volunteer-run institution officially closed its doors in mid-August, and all artifacts are being returned to their donors.

Apollo Magazine has announced it’s “40 Under 40,” tapping artists Agnieszka Polska and Michael Armitage, among others.  [Apollo]

NADA Miami has announced its 2018 exhibitor list. [ARTnews]

What Makes A Place

Raquel Gutiérrez organized a presentation of films by Oakland artist Xandra Ibarra for this year’s “Dirty Looks: On Location” film/performance series at Redz Angelz Bar in Los Angeles. After the evening, the professor reflects on the evening’s message about art-washing in Boyle Heights. [Open Space]

Two years ago, Mexico City rebranded its logo, to the dismay of many locals and even the city’s social communications department. Since then, there’s been a tussle between two brandings for CDMX: one that employs “Mexican Pink,” and the other, a more minimal, sans-serif font, resulting in clashes on buses and taxis. [Citylab]

A closer look inside Bolerium Books, the San Francisco stronghold that hosts a notoriously eccentric collection of books and zines since 1981.  [New Yorker]

Friday Reads

Jerry Saltz throws his critical hat in the Delacroix ring, as the artist’s Met retrospective garners more and more attention. Saltz writes about the painter’s techniques, the pieces that were too large to be in the show, the salons Delacroix used to attend, and writes: “What do you see when you look at a Delacroix? Fuzziness, smears, fibrillating paint, irradiated color that destabilize space and emulsify objects.” [Vulture]

A year after hurricane Maria devastated Puerto Rico, the Times takes a look at the art that came out of the country’s attempt to reckon with the destruction, from visual artists to musicians, actors, and comedians from the island. [New York Times]

Gabriel Pérez-Barreiro, the curator of the São Paulo Biennale, decided to not dwell too heavily on political art for this year’s show, and through comparing curating to his other passion, birding, why it should be more about the experience of art. [Hyperallergic]

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