- An Alison Fitzgerald story in this morning’s NYT about proposed oil-and-gas exploration off Virginia’s Atlantic coast is a reminder that the Santa Barbara oil spill still impacts public policy debates. In the September Modern Painters, I wrote about how it had an impact on art, too.
- Jonathan Jones on whether painting and photography can be hung together, something much on-the-brain in the UK as an exhibition at the National Gallery does just that. American institutions may do this a bit more than their UK peers: MOCA did it to revealing effect in a major collection installation in 2010, and even the comparatively staid Yale University Art Gallery did it (well) earlier this year.
- The best website you probably don’t read: New American Paintings’ blog.
- Matt Smith talks to Judy Rushin about her modular paintings. (Yes, they really are.)
- I wish I’d written this: At Rhizome, Honor Harger details how artists have been looking at drone warfare.
- On Creative Time Reports, Elham Rokni’s “Capture” (think journalism, not art) looks at immigration policy — think deportations, lots of ‘em — in Israel. Interesting to see, think about in the context of America’s rapidly evolving immigration debate.
- Heh: Enough with the effin’ “Bilbao.”
- William Poundstone jumps off from the superb little Gustave Moreau show at the Hammer.
- Carolina Miranda re-visits MoMA’s suddenly re-au courant “Rising Currents.”
- Via Jason Fulford, what a killer Elmer Bischoff.
- The website for the Huntington’s Civil War photography show is pretty sweet.
- Robin Cembalest offers a thorough post-Sandy roundup.
November 14, 2012, 9:30 am
