Suggested Reading: State of the Art World pt.2

– After Eric Fischl recently lamented about the contemporary art world’s fascination of “expensive toys” over art with substance, another celebrated figurative painter has joined in on the critique. David Hockney on “Why art has become ‘less’. via BBC

– “Are you Eating a Dying Language?” With a temporary Iraqi Jewish restaurant in Dubai, artist Michael Rakowitz uses food as a catalyst for discussions of culture and identity. via Creative Time Reports

– Since August, ABOG Fellow Jody Wood and a team of volunteer hair stylists have been traveling to homeless shelters throughout New York City, providing free beauty services to willing participants in a truck custom-outfitted into a fully-functional mobile beauty salon. The piece is titled Beauty in Transition. This incredible project is a great testament to the transcendent power art has for the community at large. Read this testimonial with Nahomie Marcena, one of the stylists working with Jody Wood on this great project. via A Blade of Grass

– “The opportunity to see so many of his large canvases from the 1990s up close — with their seemingly infinite layers of paint, collage, glitter, duct tape, and other materials, punctuated by volleyball-sized clumps of elephant dung that are likewise bedazzled — is one of the greatest treats at any New York City museum this season.” Ben Sutton reviews Chris Ofili’s show at the New Museum. via Hyperallergic

– With the cold crisp weather approaching NYC, I especially wish I was in New Orleans for Prospect.3. One of the many excellent exhibitions happening in the city is a survey of the influence the south had on Basquiat. John d’Addario reviews Basquiat and the Bayou at the Ogden Museum of Southern Art. This is a must read. via Hyperallergic

– “Curated by LACMA Senior Curator Franklin Sirmans, Prospect.3 capitalizes on a growing undercurrent of impatience with curatorial business-as-usual. Subitled Notes for Now, Sirman’s biennial takes as its starting point Percy’s Big Easy existentialist novel, as well as two other alternative conceptual touchstones: Tarsila do Amaral’s anthropofagia movement, which set out to “cannibalize” European art in 1920s Brazil, and Paul Gauguin’s turn-of-the-20th century confrontation with Tahitian otherness. Besides relating directly to the hybrid fabric of New Orleans, these Rosetta Stones don’t just provide an eloquent alt-universalist rereading of modernism, they propose a brief history for 21st century art with a social conscience. Call it creole altermodernism.” Read Christian Viveros-Fauné’s overview of the socially conscious curation of Prospect.3. via artnet


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