Morning Links for August 26, 2019 -ARTnews

Canoe Studios in New York, where Future Fair will take place

Canoe Studios in New York, where Future Fair will take place.


The Market

A new fair is coming to New York next year. Running May 7 to 9, Future Fair will include up to 36 galleries, and share with them a portion of its profits. [ARTnews]

Here’s a look at the recent International Folk Art Market in Santa Fe, and the ways social media is impacting craft. [The New York Times]


Stuart Pivar, a collector and co-founder of the New York Academy of Art, said that Jeffrey Epstein was his “best pal for decades.” In 1995, Pivar met Maria Farmer, an aspiring artist at the time, who has said that she and her sister were sexually assaulted by Epstein. [Mother Jones]

Jeff Koons’s much-debated memorial for the victims of the November 2015 terrorist attacks in Paris, Bouquet of Tulips (2016–19), is being installed in the city, near the Champs-Elysées, ahead of its October 5 opening. [The Art Newspaper]

The artistic duo Zackary Drucker + A.L. Steiner asked that their work be removed from an exhibition at the Shed in New York because Trump supporter Stephen Ross is a member of the arts center’s board and the chairman of the real estate company that developed Hudson Yards, where it is located. [The Observer]

The Art Gallery of Ontario in Canada has acquired Gustave Caillebotte’s Iris BleusJardin du Petit Gennevilliers (ca. 1892) after a drawn-out legal battle to prevent the work from leaving the country. [The Art Newspaper]


Grammy-nominated jazz pianist Jason Moran’s first solo museum show travels to the Whitney Museum in New York next month. “The reason you become an artist is because you’re out of balance,” he said in an interview. “An artist obsesses in ways normal people don’t.” [Vogue]

Calvin Tomkins profiled Vija Celmins. “I’ve been opening up a little, letting my hand show more,” the artist said of her recent work. [The New Yorker]

The Critics

As the start of the fall season approaches, Dan Fox writes on “Why We Love to Hate Gallery Dinners,” unpacking the politics of those rituals. [Frieze]

“That the work of this black American sculptor is now ‘representing’ America invites pricking little questions—about, for instance, what was gained and foreclosed by modern revolutions,” Tobi Haslett writes of Martin Puryear’s presentation in the U.S. Pavilion at the Venice Biennale. [The Paris Review]

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