COURTESY MARIAN GOODMAN GALLERY
Bigness
Adrián Villar Rojas never met a Met rooftop he didn’t like. Or: on the newly commissioned project “The Theater of Disappearance” now showing on the Met Museum’s open-air roof for the summer. [The New York Times]
All the Robert Ryman paintings at Dia:Beacon—so many shades of white in so much natural light!—will stay there together thanks to a gift from the artist of 21 works. [The New York Times]
Larry Gagosian flipped his penthouse in the luxury Faena House building in Miami, reportedly for a loss of nearly $1 million. [The Real Deal]
Moving Company
The therapeutic qualities of making art are on display in the “Wounded Warriors Healing Arts” show at the Pentagon. [U.S. Department of Defense]
The exhibition “Art on the Inside” shows art made by inmates in the Alabama prison system at the Kennedy-Douglass Center for the Arts. [TimesDaily]
Op-Ed
The maker of the Charging Bull statue on Wall Street dislikes the Fearless Girl sculpture that was recently placed nearby in a PR stunt that doubled as a craven bit of opportunistic co-opting of all that is dear in the world. Everybody loses! [The New York Times]
In a story about the new Jeff Koons x Louis Vuitton alliance, a line from the New York Post: “At a time when museum attendance lags and interest in the arts seems to be generally declining, Koons says he wants to democratize high art.” Oh, yeah? [The New York Post]
Future vs. Past
“Dubai’s art market is hotter than ever.” [CNN Money]
On the tricky business of conserving media art, by way of conservators at the Denver Art Museum and works by Nam June Paik and others that include fleeting technological materials. [KUNC]
Misc.
A review of Lynne Tillman’s book The Complete Madame Realism and Other Stories. [Bookforum]
See some photographic ruminations by Shen Wei, a Chinese-born, New York-based artist whose work brings out “the layer of dream-life hovering just beneath reality.” [The Paris Review]