Ahead of her upcoming exhibit at New York’s SculptureCenter, Banu Cennetoglu speaks about charting twelve years of her life according to what’s on her computer–128 hours of material. [New York Times]
Linda Yablonsky of David Zwirner gallery’s God Made My Face: A Collective Portrait of James Baldwin, “As a whole, it underscores why we need to keep Baldwin in our lives today, right now, so the physical humanity we prize most isn’t lost in the shuffle of either fame or place.” [Art Newspaper]
Post-internet artist Ed Fornieles’s new project Crypto Certs offers a more grassroots approach to funding artists through small investments from its users for artworks of their choosing. [Dazed]
Laurence Weschler reviews Brooklyn-based artist David Opdyke’s new mosaic composed of 528 postcards of painted apocalyptic scenes, titled This Land. He writes, “You get sucked in, and as minutes pass, ever slyer details emerge. Eventually you pull away, and the wider scene reverts to that bird’s eye pastoral sublime. Only now you realize the sun hovering above the distant horizon isn’t slowly rising: it’s fast setting.” [New York Times]
Following controversy, Laurence Jenkell’s public art piece, Candy Nations, which honors members of the G20, is being moved from One World Trade Center to JFK airport. [Hyperallergic]
Los Angeles’s Craft & Folk Art Museum has officially changed its name to Craft Contemporary. [Artforum]
Mary Oliver, National Book Award and Pulitzer Prize winning-poet, has died.
[Los Angeles Times]
Behold, a selection of photos by Patti Smith from her visit to Rivera and Frida Kahlo’s home in Mexico City. They are now on display at the Diego Rivera Gallery of the San Francisco Art Institute. [New Yorker]
Los Angeles-based artists such as Vanessa Beecroft, Larry Bell, and Yung Jake show us their cars for our latest installment of the photo series Habitat.
And here are some photos of the scene at FOG art fair’s opening gala, in San Francisco. [Haute Living]