Morning Links

How Tate Modern Became One of the Century’s Great Buildings, Loie Hollowell’s Exploding Market, and More: Morning Links from September 17, 2019

Tate Modern.

Tate Modern.


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Looking Back

Hilton Als writes on why Roy DeCarava’s photographs “made it clear how poorly or negligently the color black had been used in much of American photography before DeCarava came along.” [The New Yorker]

Margaret Atwood wrote a tribute to a book that no one involved in the arts should neglect to read: Lewis Hyde’s The Gift: How the Creative Spirit Transforms the World. She calls it “a book about the core nature of what it is that artists do, and also about the relation of these activities to our overwhelmingly commercial society. If you want to write, paint, sing, compose, act, or make films, read The Gift. It will help to keep you sane.” [The Paris Review]

The Guardian digs into how and why Tate Modern—the “mother of all loft conversions”—came to top its list of “the best architecture of the 21st century.” [The Guardian]


Why have the prices for Loie Hollowell’s paintings risen 1,200 percent in three years? [Artnet News]

Here’s the exhibitor list for the Untitled, Art fair in Miami Beach. [ARTnews]

Looking Forward

Peter Schjeldahl addresses Amy Sherald’s new show at Hauser & Wirth gallery in New York, writing, “She activates the double function of portraiture as the recognition of a worldly identity and, in the best instances, the surprise of an evident inner life.” [The New Yorker]

Artsy has released its “Artsy Vanguard” list of artists to watch, with Forensic Architecture, Elle Pérez, Howardena Pindell, Tschabalala Self, Frank Bowling, and others making the cut. [Artsy]

Wangechi Mutu’s new sculptures installed by the Metropolitan Museum of Art’s entranceway “represent a new era” for the august institution in New York, writes Nadja Sayej. “The sculptures of women here look like confident African queens, staring ahead.” [The Guardian]


Michele H. Bogart wrote about “the problem of canceling the Arnautoff murals” that have caused controversy in San Francisco for the way they depict black slaves and a dead Native American in telling “the life of George Washington.” [The New York Review of Books]

The Newcomb Art Museum at Tulane University in New Orleans has received a $216,515 grant from the Institute of Museum and Library Services. The funds will go toward digitizing the collection. [Press Release]

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