Morning Links

Morning Links: Pelicans Edition

Louis-Pierre-Théophile Dubois de Nehaut, The Pelicans and Greenhouses, Zoological Gardens, Brussels, 1854-1856.



Security workers at Seattle’s Frye Art Museum have started a union. [ARTnews]

The Philadelphia Inquirer has a profile of Michelle Millar Fisher, a curator at the Philadelphia Museum of Art who launched the Art and Museum Transparency spreadsheet full of anonymous citations of museum workers’ salaries. [The Philadelphia Inquirer]

San Francisco Chronicle art writer Charles Desmarais wonders: “With Dede Wilsey out, what’s next for the Fine Arts Museums of SF?” [San Francisco Chronicle]


Bookforum likes the catalogue for the Met’s “Camp” show. “Befitting the giddy opulence of “Camp: Notes on Fashion” … this catalogue is an haute objet unto itself. Its two volumes are bound in soft celadon covers and separately strapped to either side of a pale-pink faux-leather album, all embossed in gold.” [Bookforum]

The Guardian has a profile of Helen Cammock—“the social worker who became a Turner prize nominee.” [The Guardian]


Artforum interviewed the great artist and musician Lonnie Holley. [Artforum]

In case you missed it, Holley wrote a very moving “Muses” column for ARTnews, with thoughts on Thornton Dial, the Gee’s Bend Quilters, and more. [ARTnews]

Artist Molly Gochman has created a 350-foot-long earthwork for the Seattle-Tacoma International Airport.”Gochman says that the work, Red Sand Project: Border US-MX, previously on view at the international airport in Houston, is intended to start a dialogue on human trafficking, immigration and the effects of political maneuvering on individuals and communities.” [The Art Newspaper]

Pelicans & More

Read all about “the pelican paintings that changed art forever.” [The Guardian]

A slate-covered Serpentine Pavilion designed by Junya Ishigami for London’s Kensington Gardens was compromised by regulations. “The final result feels rather lost in translation, the compromised product of a sharp clash of cultures. There are more columns than originally envisaged, and a series of clumsy polycarbonate walls have been installed, following wind analysis by engineers … to prevent the furniture from blowing away.” [The Guardian]

Writer Natasha Stagg thinks through different social actions and interactions surrounding the churnings of #MeToo. “I was having dinner with a group of friends and acquaintances when the cancelled publisher of an art magazine came up, and we all had to decide, privately, if we would still want to cancel him if his story was newly revealed now.” [Affidavit]

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