This week: Links to a painting review of Mimi Lauter’s show in LA, the winner of the 2017 White Columns/Shoot the Lobster Award, Anish Kapoor in Brooklyn, Olafur Eliasson’s early paintings, stolen painting resurfaces, rough sketches for the peace symbol, NYTimes goes to Bushwick–but no Trumpistan politics!
In the LATimes, Leah Ollman reviews Mimi Lauter’s exhibition at Tig Sigfrids. “Lauter’s drawings have a visual grammar all their own. Their sense of scale is elusive….They feel immersive, whether small as a notebook page or large enough to dominate a wall.” Read more.
From ArtForum: “White Columns and Shoot the Lobster announced today that Wendy Yao, the founder of the Los Angeles–based bookstore Ooga Booga, is the recipient of the 2017 White Columns / Shoot The Lobster Award, which recognizes individuals who work to create opportunities for both artists and audiences. Yao will receive a $5,000 cash prize and a commissioned artwork that will be presented to her during the 2017 Printed Matter LA Art Book Fair, which kicks off on February 24.” Read more.
In my neighborhood: Anish Kapoor’s Descension, a big churning, whirlpool-like fountain is coming to Pier One in Brooklyn Bridge Park in May. A project that was originally created for the 2015 Kochi-Muziris Biennale, this iteration is funded by the Public Art Fund. (via ArtForum)
Artist-detective-blogger Greg Allen reports that he has found some early Olafur Eliasson paintings (like the one posted above) and he is very curious about them. Read more. He also has an interesting post about Martin Herbert’s new collection of essays, Tell Them I Said No published by Sternberg Press. It’s about artists who stop making art. Or showing art. Or just say no in some way. Read more.
A painting returns: “A large Guercino painting that was stolen from a church in Modena in August 2014 has been traced by Italy’s Carabinieri art crime squad to Casablanca, Morocco. The Italian government is negotiating to return Madonna with the Saints John the Evangelist and Gregory the Wonderworker (1639) to the Church of San Vincenzo ‘as soon as possible.'” (via The Art Newspaper)
NYTimes went to Bushwick this week! Critic Will Heinrich reviews Aaron Garber-Maikovska’s paintings, on view at Clearing through February 26. “Their appeal is as unresolved artifacts of the vital, open-ended process of their own making. They’re like blackboards covered in half-legible equations that make you wish you had made it to the lecture.” Read more.
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