Sunday, June 5, 2016
Diana Al-Hadid is a native of Syria who emigrated with her family to the U.S. when she was a small child, but her show at Newcomb leaves the distinct impression that she has been crossing borders and boundaries ever since. Her mind-bending sculptures and multidimensional wall mounted works are so multi-layered that different people may initially see them very differently as they are transported into the less familiar labyrinths of history, science and culture. As Newcomb Art Museum director Monica Ramirez-Montagut has noted, Al-Hadid is influenced by historical forms from art and architecture that she transforms with “drips, textures, patterns, and ornaments that recall Arabic calligraphy and Islamic textile patterns. Yet through their ruinous quality, they simultaneously evoke absence.”
Newcomb Art Museum, Tulane University, 865-5328.
Critic-Curator Nick Stillman New Arts Council CEO
Former Bomb Magazine Managing Editor, UNO Visiting Critic and Arts Council Deputy Director Nick Stillman has been promoted to CEO. "I’m very honored to assume this position, especially at this pivotal moment for our city,” Stillman said. “Just as the city of New Orleans is looking ahead to the 2018 Tricentennial, we too are focused on demonstrating over the next three years how pivotal, transformative, and essential the arts are to New Orleans.” An active art critic who regularly contributed to Artforum, Stillman also curated eight exhibitions at PS1 in New York, including the debut museum solo shows by Kalup Linzy, Amy Granat and Joe Bradley. More>>
Curator Kenny Schachter Shreds Big Art as "Corrupt"
According to New York-born, London-based, global art world gadabout, gadfly, collector, curator and contrarian self-promoter Kenny Schachter, the global art market is a "hotbed" of corruption. This is hardly news to those of us who have noticed the New York and London art markets are the last unregulated play pens for international banksters, but it was interesting to see it in the London Telegraph's coverage of a Schachter talk about how the corruption he had seen over a long and global career was born of the high sums of money involved. Even museum trustees were in on the act, he alleged; using their inside knowledge of future exhibitions to give tips on which artists are likely to see a boost in prices. High level dealers could use the auction system to artificially inflate prices, planting an accomplice to bid against clients and ramp up the final price. Important works, he claimed, were sometimes sold at a private price significantly lower than the sum announced publicly, the headline-catching public price boosting the status of the artist for future sales. "Any time a lot of money crops up, hideous behaviour follows too." More>>