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News
Artist Jenny Holzer has adapted her You Vote project for the students of the University of Chicago, using phrases in their own words, including ones like “Vote Until It Is Accessible For All” and “Happy?” [The Art Newspaper]
The New York Times asks, “How long can N.Y.C. museums survive at 25 percent capacity?” [The New York Times]
After an international outrage, Jerusalem’s Museum of Islamic Art has delayed a sale of some 200 objects that were to be sold at Sotheby’s this week. The move was meant to help the institution stay open. [The Times of Israel]
Christie’s Italian art evening sale brought in a disappointing $6.9 million, well under its presale estimate of $12.6 million–$18.2 million. [Art Market Monitor]
Deaccessioning
Curator Glenn Adamson has written a defense of “progressive deaccessioning,” as the controversies surrounding several museum sales reaches a fever pitch. He writes, “The quantity of art by white men sitting in permanent collections is overwhelming.” [Apollo]
Here’s a guide to the most controversial U.S. museum deaccessions since the 1970s. [ARTnews]
Art & Artists
Poet Jericho Brown has penned a powerful essay on the enduring legacy of filmmaker
Marlon Riggs, timed to a group of his films being added to the Criterion Channel.
[The Criterion Collection]Here’s a profile of Iraq-born artist Samir Khurshid, who has lived in Portland, Oregon, since arriving there as a refugee in 2010. The artist’s “packed tableaus recall the frenzy of Hieronymus Bosch, bursting with elements that symbolize [his] former and current life.”
[The New York Times]The
Guardian checks in with
Sarah Sze, who is the subject of a just-opened exhibition at the Fondation Cartier in Paris. The artist tells the paper, “You make the work that you do and you don’t always know where it comes from. You’re connected to the times, but there’s a ton of deep connection that you don’t even know how to explain.”
[The Guardian]Reviews
An exhibition in Dresden, titled “1 Million Roses for Angela Davis,” takes the philosopher and activist’s “cult status in East Germany as a starting point.”
[The New York Times]Here is a review of the major retrospective of Artemisia Gentileschi at the National Gallery in London, the museum’s first solo show devoted to a historical woman artist. Sheila McTighe writes, “If you’ve felt starved for an exciting blockbuster event, this exhibition will not disappoint.”
[The Art Newspaper]And finally, Jonathan Jones reviews Tate Britain’s latest
Turner exhibition, which presents the artist “as a passionate and engaged painter of modern life.”
[The Guardian]
