COURTESY JOHN D. AND CATHERINE T. MACARTHUR FOUNDATION
‘KAFKA WITH A BRUSH’
Peter Schjeldahl reviews the New Museum’s Nicole Eisenman show. “Eisenman’s resourceful Expressionism hints at the power of narrative painting to re-situate the art world in the world at large,” he writes. [The New Yorker]
Meanwhile, Eisenman, a so-called “Kafka with a brush,” chats with Grace Dunham and Deborah Solomon about formalism, private planes, gender fluidity, and much more. [The New York Times]
TRANSFORMATIONS
Richard “Dickie” Landry, a member of the Phillip Glass Ensemble, on his work at Frieze: “A lot of people didn’t even know I painted.” [Page Six]
The Asian Art Museum in San Francisco is planning a multi-step “transformation” for the coming few years. Once financially unstable, the museum is set to build a pavilion that will become one of the largest exhibition spaces in San Francisco. [The San Francisco Examiner]
POP ART
In what seems laughable, but is actually an important stride for artistic freedom in Japan, a woman who made sculptures modeled on her vagina will not be subject to obscenity laws. The sculptures have instead been called “pop art.” [Reuters]
THE INFORMATION AGE
Josh Kline talks with Kevin McGarry about his excellent new show at 47 Canal on New York’s Lower East Side. “This new [show] is about the middle class as it loses its jobs to software over the next quarter century,” Kline says. [T Magazine]
Here’s a clear, succinct history of data art. Data visualization, in which information becomes images, is being called “the first step in data art.” [Tech Crunch]
EXTRAS
A report from the Dak’Art African Contemporary Art Biennial in Senegal, where young artists are coming to the fore. [NPR]
Kathryn Adams at the Museum of Contemporary Art Chicago. [Contemporary Art Daily]