Tuesday, August 16, 2011

Kaprow at Grand Central, "Fabiola" Tour Continues, a Weiner Remix, etc. [Collected]


Installation view of Tracy Thomason, "Highlights, Low Fades, & Deep Cuts," at Tiger Strikes Asteroid, Philadelphia, through August 28, 2011. Photos: 16 Miles [more]
  • Documentation of the 1965 Allan Kaprow happening Calling, which involved wrapping people Christo-style and carrying them into Grand Central. [ROLU]

  • Francis Alÿs's Fabiola — an installation of more than 350 paintings of Saint Fabiola that Alÿs acquired from flea markets and antique shops around the world — is now on view at the Schaulager in Basel, Switzerland. Since appearing at Dia's branch at the Hispanic Society of America in Washington Heights in 2007, it has been touring around the world. [this is tomorrow]

  • Christoph Büchel turned Hauser & Wirth's Piccadilly gallery into a community center — a community center with a really wonderful website, no less — last month. [Strange Messenger]

  • WATER FINDS ITS OWN LEVEL HOWSOEVER, a new print by Lawrence Weiner, is available through 20x200. The work is a remix of sorts of his commission for the Art Production Fund's mural project, covered here earlier. [Ms. Jen Bekman]

  • "I’m going to break this down very simply, and as nonlibelously as possible." David Levine recalls his father's involvement in the Marlborough-Rothko scandal. This is the sleeper hit of the summer. [Triple Canopy]

  • Artist Matt Connors intensely blogs a book on German artists in the 1980s. I'm a big fan of the Katja Hajek's — 'I'm just chilling by a grand piano' — portrait. Sadly, there's very little material about her (in English, at least) online. [And a Half/Und Eine Halbe]

  • The Smithsonian American Art Museum acquired a painting by Allan D'Arcangelo earlier this year. It's a beauty. [Eyelevel]

  • "Just as dusk settled over the brick hulk of the New York Security building on Laight Street in TriBeCa last Wednesday, figures in black began walking in, nodding to the guard, and taking the elevator to the fifth floor," Andrea Kannapell, The New York Times, April 9, 1995

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