Morning Links

Morning Links: Gen Z Yellow Edition

An ochre cliff in Roussillon, France.

SHUTTERSTOCK/PHOTOLIKE

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Institutional Evolution

Jason Farago looks into the diverse roster of new artists introduced into the Dia Art Foundation’s programming over the past four years. Most recently, this includes Charlotte Posenenske and Lee Ufan, who both currently have work on display at Dia:Beacon. [New York Times]

Plans for new development in London’s Barbican Estate has locals wondering if the integrity of the original modernist structures will be maintained: “As residents protesting the plans have pointed out, the Barbican’s empty spaces are a key part of its success.” [Citylab]

News

This July, Galerie Thaddaeus Ropac is set to host a survey of 1980s-era works by Roy Lichtenstein at its location in Salzburg, Austria. [ARTnews]

The Baltimore Museum of Art has added 70 works to its collection this year, including pieces by Ana Mendieta, Manuel Orazi, and Mary Lovelace O’Neal. [Minneapolis Star Tribune]

Shanghai-based artist Lu Yang has been tapped as the recipient of the BMW Art Journey. [Artforum]

Administrative employees and cinema staff at the Brooklyn Academy of Music have voted to move forward with a union. [Hyperallergic]

The Broad has acquired two new works: David Hammons’s African-American Flag (1990) and Mark Bradford’s Deep Blue (2018). [ARTnews]

Sound and Vision

Here’s a close look into the art history of the mustard yellow that’s been ubiquitous in clothing, advertisements, and furniture lately. Apparently, it’s one of the oldest pigments known to man, though back then it was called “ochre” and not “Gen Z Yellow.” [The Paris Review]

The National Sound Library of Mexico has released what is believed to be the only known recording of Frida Kahlo’s voice. In the recording, the voice describes Diego Rivera as a “huge, immense child, with a friendly face and a sad gaze.”[New York Times]

Lorna Simpson’s grim and meditative show “Darkening” is on display now at Hauser & Wirth through July 26. “Dark times, to me, mean dark paintings,” she explains. [New York Times]

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