Noemie Weinstein, Sans-titre, oil on canvas, 2013

Lots of interesting institutional news this week.

Okwui Enwezor has been appointed curator of the 2015 Venice Biennale. Excellent choice. Of the biennale, Enwezor says, “No event or exhibition of contemporary art has continuously existed at the confluence of so many historical changes across the fields of art, politics, technology, and economics, like la Biennale di Venezia. La Biennale is the ideal place to explore all these dialectical fields of reference, and the institution of la Biennale itself will be a source of inspiration in planning the Exhibition.”

Nicolas Bourriaud has been named curator of the 2014 Taipei Biennale. Titled The Great Accelleration, the exhibition will open at the Taipei Fine Arts Museum on September 14, 2014. (Nice to see that the TFAM is already using the new .museum top level domain).

The Art Gallery of Mississauga has announced a new strategic plan (PDF) that will, “allow the AGM to meet the needs of a growing city and serve the community better.” Director and Curator Stuart Keeler is definitely taking the gallery in a great direction. The new strategic plan will see a physical transformation in the gallery, a new membership drive, and updated marketing materials as well. Can’t wait to see how this plays out. (I grew up in Mississauga and even published an arts and culture magazine there about a decade ago; the AGM has a special place in my heart).

Three items that have been most appropriate for myself and my own ongoing projects:

Jad Abumrad on “Gut Churn” (via)

As someone studying cultural policy and the recent shift from subsidizing the arts to investing in culture, this quote has been seared into my brain.


(From a great Rauschenberg missive from Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings, edited by Kristine Stiles and Peter Howard Selz.)

Finally, I am obsessed with painting lately. One of my recent favourites, which may soon be a part of my personal collection, is Noémie Weinstein‘s Sans-titre, which you can see above.


Noémie Weinstein, Sans titre, oil on canvas, 112.5 cm x 170 cm.


Panama Bio Museo

Summing up my life lately, an article over at The Atlantic explores why writers procrastinate so much. “‘Work finally begins,’ says Alain de Botton, ‘when the fear of doing nothing exceeds the fear of doing it badly.'”

The 2014 Federal budget was released on Tuesday, and funding for arts and heritage remains stable. More on the Canada Council, the Canadian Museum of History, and certified cultural property over at Canadian Art.

The Ellen Gallery in Montreal is introducing a new funding initiative, offering up to $22,000 to an artist over a two-year period to produce a work that will then be exhibited as part of the gallery’s programming. Awesome: “The program is open to a range of mediums and practices, including ephemeral, immaterial and site-specific works.”

Do weirdos make better art? I can’t say this is good science, but a recent study found that the perceived eccentricities of an artist caused people to evaluate their works more favourably. Sounds like science is just reinforcing the stereotypes we all know to exist. (via)

Mario Carpo on big data and digital art: “The best way to predict a future event in a given set of circumstances would then be, simply, to sift through this database of past evidence and look for an exact precedent. Whatever happened before (if known) would simply happen again, whenever the same conditions recurred; retrievable data would then replace rules, and search could replace predictive science.”

One of the greatest cultural critics of our time, Stuart Hall has died at the age of 82. Check out The Stuart Hall Project, a documentary by John Akomfrah. Not sure it works outside of the UK or without a VPN, but you can rent it online for £3.50.

Such an important initiative. Getty Images has teamed up with LeanIn.org to present the Lean In Collection, a library of over 2500 stock photographs “devoted to the powerful depiction of women, girls and the people who support them.” Buzzfeed posts their 44 favourites.

Monday is Family Day in Ontario. The Art Gallery of Ontario is being transformed into the Kids Gallery of Ontario for the day. Walker Court will be the site of floor games and an all-day dance party (!) as well as the starting point for a gallery-wide game of Clue. FUN. Their family day pass, which admits two adults and up to five youths (aged 6-17), is available for the discounted price of $39 for Monday, February 17th.

Did you know you can follow Andrew Hunter, the Curator of Canadian Art at the Art Gallery of Ontario, on Twitter?

Casey N. Cep at the The New Yorker makes a case for free admission. Leah Sandals has been covering this topic for years. Here’s her 2011 synopsis of Elaine Gurian‘s writing about reduced admission fees. (The link to Gurian’s paper, Free at Last: A Case for Eliminating Admission Charges at Museums is broken and I can’t seem to find it online anywhere else, but Sandals’s post includes a few key excerpts.)

The Panama Biomuseo, designed by Frank Gehry, is set to open after nearly ten years of construction.

Happy Valentine’s Day!


Frank Gehry’s Biomuseo under construction in Panama by Darién Montañez. Used under the Creative Commons Attribution-NonCommercial-ShareAlike license.


Clare Rojas, Come Hither, gouache and latex on wood

After several years of neglect, I’ve decided to resume updating my website on a more regular basis. Every Friday, I’ll post a roundup of art-related news that has caught my attention throughout the week. Enjoy!

When it comes to the National Endowment for the Arts, the GOP is very concerned about the unjust “wealth transfer from poorer to wealthier citizens.”

Addressing the disproportionate representation of women on Wikipedia, the Art+Feminism Wiki Edit-a-Thon was a stunning success, with over 101 women artists gaining new entries on the open source encyclopaedia. View the full list of new entries here. (I can’t believe Vera Frenkel never had a page before!)

With over 1.5 petabytes of material indexed already, AcademicTorrents attempts to “give research back to the researchers, instead of having it locked away behind paywalls.”

Photoshopping spectacular places that people swear they’ve seen with their own eyes: Inside the Fakes Factory: My Chat With a Viral Image Creator.

Is a Thunder Bay fraud ring selling fake Norval Morrisseau paintings to art dealers?

Andrea Kirsh says the Radical Presence: Black Performance in Contemporary Art exhibition, on at the Studio Museum in Harlem until March 9, 2014, is “memorable and well-curated.” I love the picture of David Hammons’s “Bliz-aard Ball Sale.”

Chris Burden on political art: “I think it is effective to make art in the world.”

In museum news, the Museum of Contemporary Art Calgary, the Art Gallery of Calgary, and the Institute for Modern and Contemporary Art join forces to establish Contemporary Calgary. Staff from all three institutions will be retained.

I had no idea he hadn’t shown in the U.S. in so long: Michael Snow’s first exhibition in the United States in over four decades opens in Philadelphia.

I recently attended a private lecture with Winnipeg Art Gallery’s new Curator of Contemporary Art, Paul Butler. His first exhibition at WAG, Looking Up: Contemporary Connections with Inuit Art, invited artists to create new works in response to WAG’s massive collection of Inuit art.

Roadtripper’s guide to Weird Art Installations in the U.S.

Some interesting calls for submissions: Art Spin seeks submissions for tour stops for its sixth season, and The Orillia Museum of Art and History seeks submissions in any media of artworks that engage with the body for Life & Limb, a juried exhibition.


Clare Rojas, Come Hither, gouache and latex on wood (via)

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