Tuesday Links: Racist Art Out, Vomit Art In

  • Twin Peaks Metrocards are available at select subway stations. Someone please nab me a Laura Palmer! [Curbed]
  • Georges Berges argues that galleries are being forced to adapt to the “experience economy” as the act of purchasing becomes less about a simple exchange of goods and more about activities. This is a trend Whitney Kimball identified way back in 2015, and that I recently praised Shin Gallery for embracing. I’m not sure this is about gallerists adapting to the market’s demands (I don’t think “relational aesthetics” or sleepovers or cookouts or whatever art spaces are doing is what sells art objects to collectors) but maybe just about justifying (and enjoying) a brick-and-mortar location in today’s climate? [Observer]
  • 21c, the art museum/hotel chain that operates on an alternative model to funding institutions in conservative states, is facing backlash at its Louisville location over a piece involving a racist postcard from the Civil War that an artist had recontextualized (apparently not very successfully) as a statement about confronting the past. After a boycott and threats of violence, 21c removed the piece. [WHAS11]
  • Teenage artist Sam Egli threw up on a canvas for his submission “Last Night’s Supper” to a religious-themed group show at New Zealand’s Jetcharm Gallery. It’s actually a pretty nice piece. [Stuff]
  • Denver-based nomadic gallery Black Cube has brought a “Colorado pavilion” to Venice as a satellite show, challenging the nationalist model of the Biennale. With text based neons from Joel Swanson and shiny gold sculptures from Laura Shill, it might sound like a fair booth on paper, but the work is gorgeous. Even Paddy (who was unphased by most of the Biennale) loved it. [artnet News]

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