Roberta Smith Reviews New MoMA, FIAC Fair Report, and More: Morning Links from October 18, 2019 – – ARTnews

MoMA as it prepares to open to the public in full on October 21.


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Roberta Smith weighs in on the new MoMA. Up at the top, by the headline: “Give the curators an A+ for effort—and wait. This is just the beginning.”
The New York Times

“This U.S. government looks more like Iran’s every day.” So says Iranian artist Shirin Neshat in an interview occasioned by a show at the Broad museum in L.A.
The Art Newspaper

In a report from the FIAC art fair, David Zwirner talked about his move to Paris. “I thought of having a second leg in Europe since a few years, but Brexit did accelerate that process.”
The New York Times


The Washington Post reviewed the Hirshhorn Museum’s exhibition “Lee Ufan: Open Dimension,” the first time in 44 years that the Smithsonian museum devoted its plaza to a single artist. “It’s easy to see what Lee Ufan’s minimalist sculptural installations are made of. To see what they are is more complicated.”
The Washington Post

Jillian Steinhauer reviews the new Betye Saar exhibition that is part of MoMA’s reopening in New York—a “smart but not entirely satisfying” show that tracks the printmaking and assemblage that led up to the artist’s storied 1969 work Black Girl’s Window.
The New York Times


Artists Julius von Bismarck and Julian Charrière built enormous fake models of geologic treasures in Utah, blew them up, and then watched as TV and newspapers covered them and wondered if they were real.

Gothamist has some clips of Downtown ’81, the totally weird (and kind of great) film written by Glenn O’Brien and starring Jean-Michel Basquiat as an artist making his way around downtown New York at the time.

Here’s the story of a Last Supper by Plautilla Nelli—”likely the first woman in history to paint the iconic biblical scene”—as it has been restored and returned to the Santa Maria Novella Museum in Florence, Italy.
Atlas Obscura


Matthew Zapruder recounts a long poem he attempted to write in tribute to the Noguchi Museum, the beloved sanctum for sculpture envisioned by artist Isamu Noguchi in New York. “The poem is basically a catalog of poetic failure, and extremely painful to reread. And yet, I will quote sections from it now, in full mortification.”
The Paris Review

Some people think the photograph of Nancy Pelosi talking to Donald Trump around a table full of men at the White House is an artwork fit for the ages. “It shows the ambiguity and the double meaning that a photograph can have,” said Lisa Lipinski, an art history professor at the George Washington University.
The Washington Post

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