“If you don’t understand anything about this world, or what that space was, or who these people were, your first reaction is going to be: ‘Why don’t you just bring this place up to code?’ And it’s a very quaint notion, and it would be good if that’s how the world worked [...]”
“There are so many interlocking problems that are fundamental, it’s hard to know where to begin. In almost every case, there are existing code violations to the building before they even move in.” — GOOD
"We’re not against art or culture," [says Boyle Heights activist Maga Miranda.] "...But the art galleries are part of a broader effort by planners and politicians and developers who want to artwash gentrification."
"We’re saying that they need to make a bigger effort to amplify the voices of the people that are gonna be most affected by this, and that doesn’t happen to be artists in this situation. It happens to be people who can’t afford to live here anymore." — LA Weekly
Upon first glance, the “Kurt Schwitters: Merz” exhibition is an enticing haven of artistic talent. The retrospective opened earlier this week at the Galerie Gmurzynska in Zurich.
An exhibition involving Zaha Hadid is sure to be a visual treat, whether it's her work that is on display or if she designed an exhibition's setup. Hadid's design for this particular exhibition...is the late architect's homage to Kurt Schwitters' famous Merzbau. — Bustler
Thanks to in situ artist Daniel Buren, the white glassy curved sails of the Gehry-designed Fondation Louis Vuitton in Paris have received a generous splash of vibrant color — or 13 colors, to be exact...Developed in collaboration with Frank Gehry, Buren's temporary piece, titled “The Observatory of Light“, made its official debut this past Wednesday. It took 29 nights over a period of five weeks to apply the dyed filters and white 8.7 cm-wide strips throughout the building's 3,528 glass panes. — Bustler
“2 wires + weights + tape + thin foam rubber” - one of Eva Hesse's shopping lists — the art newspaper
But if L.A. is going to remain a creative capital, its civic and cultural leaders are going to need to do more than offer really great talk about how great we are...This can start with the Otis Report on the Creative Economy...If this report is to be more than just a feel-good data dump, it could use some solid recommendations on how L.A. compares to other cities culturally and how we might improve the situation for artists and cultural organizations, both small and large. — Los Angeles Times
The question of the monuments’ removal comes after several US states...have withdrawn the Confederate flag, acknowledging it as a symbol of racial hate...The [statues] are on public land 'which means that African American tax money is being used to maintain them', [says Carol Bebelle, co-chair of the Mayor’s committee for racial reconciliation]. 'What does it mean to be a city that pays tribute to part of its history that was about oppressing the major portion of its population?' — The Art Newspaper
Neighbors haven't quite wrapped their heads around what's going on at 402 Ashland Ave., where aluminum foil covers every inch of a house on three sides and dangles like silver earrings from trees...They've asked resident [and artist] Piotr Janowski...He explains that it's an outdoor art project, inspired by Florida's beauty. Code enforcement is still trying to determine if the project is violating any ordinances... — Tampa Bay Times
Janowski tells the Tamba Bay Times: "This is art. In their thick, bureaucratic books, I'm sure they have nothing against this."Oh, Florida. Maybe this artist could give Janowski a few tips, but hey, to each their own.More:Protective wrap covers historical structures near French FireMiami's SkyRise...
Richard Serra’s new sculpture, 'East-West/West-East,' is a set of four standing steel plates rolled in Germany, shipped via Antwerp, and offloaded, trucked, and craned into place in the middle of the western Qatari desert...the steel is the same that he’s used in his other pieces, and it will oxidize in the same way, albeit more quickly in the hot, salty conditions of the Brouq Nature Reserve. The plates will [ultimately] turn a dark amber—approximately the same color...as the Seagram Building. — The New Yorker
This project [titled 'Projection'], announced last October, is probably the first time in a long time that the old inn (aka the Sunset Pacific) has gotten so much attention. The Bates—whose nickname is as much a callback to 'Psycho' as it is to the motel's location near the intersection of Bates and Sunset—has been vacant for decades, except for the squatters and the occasional, totally fun-looking, likely illegal party — la.curbed.com
The rural village of Sinthian in southeastern Senegal is home to the THREAD arts center, a new artists' residency and cultural community space set to open this March. The idea for the arts center originated from the long-term efforts of doctor and local Sinthian leader, Magueye Ba, who spearheaded...
For as long as digital technology continues to creep into every part of our daily lives, so will the discussion regarding its impact on everyday reality. Over at London's Hayward Gallery, the MIRRORCITY exhibition features the multimedia works of London-based emerging and established artists that address the dilemmas, consequences, and experiences of living in the digital revolution. MIRRORCITY will be at the Hayward Gallery until January 4, 2015. — bustler.net
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