Tyler Green
Art-focused Journalism by Tyler Green

Tyler Green Modern Art Notes

Wednesday links

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  • So the Corcoran isn’t selling its home after all. Let’s not be too surprised about this: Once the District attorney general’s office became involved it was unlikely the Corcoran was going to be able to wiggle out of its charter. Instead, view this week’s news as the rough equivalent of George W. Bush announcing that the United States was going to Mars: Never mind the money or the details, we’re going. Well, the Corcoran is staying. But it still has poor donor relations, poor foundation relations and little money or prospects. Look for the Corcoran to announce a merger or arrangement of some sort with George Washington University, which is in the Corc’s neighborhood. That could be good for everyone — and might finally allow the Corcoran to attract talent to senior leadership positions and to its board.
  • How a catalogue raisonne is published (in under two minutes).
  • Paintings (and John Ruskin) prompted art historian Jill Burke to wonder if Renaissance women removed their body hair. [via]
  • Why is the Hammer Museum looking at games? Oh, that makes sense.
  • Greg Allen explains how a painting in the Smithsonian American Art Museum’s Civil War show reminded him of his own mixed-race ancestry.
  • In The New Republic, Jason Farago experiences Martha Rosler’s Meta-Monumental Garage Sale at MoMA. He finds it anti-climatic and a “first specimen” of relational aesthetics: Rosler’s first garage sale was in 1973. (That’s a reasonable approach but factually it’s a smidge off: Tom Marioni started it all with his The Act of Drinking Beer with Friends is the Highest Form of Art in 1970.)
  • John King takes to Landscape Architecture magazine to comment on the parklet boom. Worth considering: So far as I know, the first parklets were created by early Bay Area conceptualist Bonnie Sherk in about 1970. Featured in the important Orange County Museum of Art/Berkeley Art Museum “State of Mind” exhibition, they’re pictured here too.
  • Speaking of OCMA, how could it downshift so quickly from a couple of years of excellent, scholarly, important shows to this collector-fluffing crap? Sad.
  • I love that the Walker is offering video art over the interwebs. This one’s from Kim Beom and is up through Dec. 20.
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