Morning Links

Morning Links: David Lynch Edition

David Lynch, Every Girl’s Dream, 2017, ink and watercolor on paper.



The Bronx Museum of the Arts plans to open a 4,500-square-foot space in Lower Manhattan next year. The new location will be an “artist workspace and exhibition venue,” and it will support the museum’s career development program for emerging New York City artists. [ARTnews]

Following the conclusion of a €30 million restoration project, the Chapel of the Holy Shroud in Turin has reopened. [The Art Newspaper]

Sotheby’s will sell four Jean-Michel Basquiat works at its contemporary evening auction in New York on November 14. [Artnet News]


Here’s a Q&A with filmmaker David Lynch, who has a show called “I Was a Teenage Insect” at Kayne Griffin Corcoran in Los Angeles through November 3. The exhibition features new paintings by Lynch, and he says that sewing and welding may be the next mediums on his horizon. [Los Angeles Times]

Gillmeier Rech in Berlin will close after five years, and Exile gallery is leaving the German capital for Vienna. Founder and director of Exile, Christian Siekmeier, said of the city’s art landscape, “Berlin might be oversaturated and overfed.” [The Art Newspaper]

A piece that considers whether commercial galleries have “taken over the intellectual high ground”—in terms of programming and curation—in the art world. [The Financial Times]


On Charles White’s life, legacy, and upcoming retrospective at MoMA. M.H. Miller calls the artist “an American master, who made mysterious, almost metaphysical images of African-American dignity and, as a teacher at the Otis Art Institute in Los Angeles from 1965 until his death, became a role model to an entire generation of younger black disciples.” [T: The New York Times Style Magazine]

In an interview with The Guardian, Rachel Whiteread discusses her new sculpture for Dalby Forest in North Yorkshire, Me Too, leaving London’s Shoreditch neighborhood, and more. [The Guardian]


Osmos gallery in New York is staging the first-ever exhibition of work by Bev Grant, a photographer who captured various protest movements of the late 1960s. She said, “I still have to turn my head when someone calls me an artist. But I do realize that I should stand up and be counted, and acknowledge that this was something I did that had value.” [The New Yorker]

A look at the Steirischer Herbst festival in Graz, Austria and the Vienna Contemporary fair, and the challenges they face. One of the most polarizing works at Steirischer Herbst is Withdrawing Adolf Hitler from a Private Space by Yoshinori Niwa. The installation, which is situated in a public square where Hitler was once welcomed, includes a clothing container meant for deposits of Nazi memorabilia. [The New York Times]

As part of “Between Us: The Downtown Denver Alleyways Project,” various nooks and crannies around the city’s outdoor 16th Street Mall are teeming with public art installations. [Hyperallergic]

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