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The First Art Newspaper on the Net
 
by Peter Libbey and Landon Nordeman
NEW YORK
(NYT NEWS SERVICE)
.- When film and TV crews need to set up cameras or adjust lighting and sound equipment, actors’ stand-ins — people of a similar size and shape — are often called in to patiently take their place. And when a script calls for a character to do something dangerous, the star usually steps aside while a stunt double takes the punch. At museums, maquettes are both stand-ins and stunt doubles. In exhibition planning, original artworks sit safely in packing crates, or hang elsewhere, while models of them are moved hither and yon with relatively little care so curators and designers can determine their layout in a gallery. Seven maquettes were created for “Alexander Calder: Modern From the Start,” which opens at the Museum of Modern Art on Sunday. And they are among the most detailed that the museum has made. Typically, mock-ups are pieces of brown paper demarcating artworks’ footprints, or silhouettes fashioned from wood or cardboard. Many are constructed on the fly ... More

Cantor Arts Center Launches Asian American Art Initiative Bolstered by Major Ruth Asawa Acquisition
Among the first of its kind, Stanford’s newest hub of interdisciplinary scholarship transforms the museum’s collection and expands research opportunities.
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Ruth Asawa with life masks on the exterior wall of her house. (Photography by Terry Schmitt. Artwork: “Untitled (Wall of Masks),” c. 1966–2000. Ceramic, bisque-fired clay. © 2020 Estate of Ruth Asawa/ Artists Rights Society (ARS), New York. Courtesy The Estate of Ruth Asawa and David Zwirner)
By BETH GIUDICESSI
PALO ALTO — The Cantor Arts Center at Stanford University announced Jan. 25 the establishment of the Asian American Art Initiative (AAAI), a significant effort to acquire, preserve, display and research art related to Asian American and Asian diaspora artists and their practices.

January 25, 2021
Cantor Arts Center launches Asian American Art Initiative bolstered by major Ruth Asawa acquisition, The Michael Donald Brown Collection and other works
Among the first of its kind, Stanford’s newest hub of interdisciplinary scholarship transforms the museum’s collection and expands research opportunities.
By Beth Giudicessi
The Cantor Arts Center at Stanford University announced today the establishment of the Asian American Art Initiative (AAAI), a significant effort to acquire, preserve, display and research art related to Asian American and Asian diaspora artists and their practices.
Ruth Asawa with life masks on the exterior wall of her house. (Image credit: Photography by Terry Schmitt. ARTWORK: Untitled (Wall of Masks), c. 1966–2000. Ceramic, bisque-fired clay. © 2020 Estate of Ruth Asawa/ Artists Rights Society (ARS), New York. Courtesy The Estate of Ruth Asawa and David Zwirner)

By Beth Giudicessi
The Cantor Arts Center at Stanford University announced today the establishment of the Asian American Art Initiative (AAAI), a significant effort to acquire, preserve, display and research art related to Asian American and Asian diaspora artists and their practices.
Ruth Asawa with life masks on the exterior wall of her house. (Image credit: Photography by Terry Schmitt. ARTWORK: Untitled (Wall of Masks), c. 1966–2000. Ceramic, bisque-fired clay. © 2020 Estate of Ruth Asawa/ Artists Rights Society (ARS), New York. Courtesy The Estate of Ruth Asawa and David Zwirner)
The initiative is anchored by the museum’s acquisition of 233 ceramic masks that comprise

The First Art Newspaper on the Net
 
I have known Doug Argue’s work for years, have followed its metamorphosis and have been impressed by the energy that goes into and comes out of it. Here we have a record of all that energy compressed into one handsome volume. — Robert Storr, artist, author, critic, and curator
NEW YORK, NY
.- The remarkable creativity of protean American painter Doug Argue is brought vividly to life in “Doug Argue: Letters to the Future.” Words and images explore, explain and contextualize Argue’s trajectory from art-school rebel to celebrated, much-exhibited artist on a global stage. With a colossal curiosity and tireless dedication to his solitary studio practice, Argue stands as a thinker-painter admired by a growing circle of curators and collectors. His work has been shown in museums and galleries from New York (where three large paintings are on permanent view at One World Trade Center) to Sydney and from Vienna to Venice. His often giant canvases shed virtuosic light on Argue’s ongoing fascinations — with history, color, perspective, literature, language, music, science and technology. Inspired by such everyday subjects as chickens, ... More

Sigrid Nunez. Photo: © Marion Ettlinger.
A candid attitude about death and sincere empathy for grief are wrongly put at odds: to speak with frankness is regarded as insensitive, and condolences are meant to come from the heart. But often it is the card-aisle euphemisms that ring false. Sigrid Nunez’s most recent novel,
What Are You Going Through, is unflinching on the theme of mortality and thus presents an openhearted honesty so rare it feels thirst-quenching. The two major elements at play: dread about the end of the world, by way of the narrator’s ex, an academic who delivers lectures about what humanity has done to ensure the demise of everything; and the imminent death of the narrator’s friend, either by cancer or (the friend hopes) her own hand. I don’t want to call this a story without hope, because to face inevitability with the dichotomous perspective of hope versus no hope … you may as well be armed with Hallmark. Nunez renders the pain of aging, especially as a woman, with quiet humor and philosophy brought to life by sharp characters. Readers of Nunez’s previous novel,

The First Art Newspaper on the Net
 
An undated photo provided by Joseph R. McConnell shows a sample ice core for use in analyzing the fallout from the eruption of the Okmok volcano in the Aleutian Islands in 43 B.C. Scientists have linked historical political instability to a number of volcanic events, the latest involving the eruption in the Aleutian Islands and the fall of the Roman Republic. Joseph R. McConnell via The New York Times.
by Katherine Kornei
(NYT NEWS SERVICE)
.- Chaos and conflict roiled the Mediterranean in the first century B.C. Against a backdrop of famine, disease and the assassinations of Julius Caesar and other political leaders, the Roman Republic collapsed, and the Roman Empire rose in its place. Tumultuous social unrest no doubt contributed to that transition — politics can unhinge a society. But so can something arguably more powerful. Scientists last week announced evidence that a volcanic eruption in the remote Aleutian Islands, 6,000 miles away from the Italian peninsula, contributed to the demise of the Roman Republic. That eruption — and others before it and since — played a role in changing the course of history. In recent years, geoscientists, historians and archaeologists have investigated the societal impacts of large volcanic eruptions. They rely on an amalgam of records — including ice cores, historical chronicles and climate modeling — to pinpoint how ... More

The First Art Newspaper on the Net
 
by Nicholas St. Fleur
(NYT NEWS SERVICE)
.- Neanderthals are often portrayed chowing down on mammoth meals and woolly rhino ribs. But an analysis of their leftovers from a coastal cave in Portugal suggests fish and mollusks claimed a special place on their Paleolithic palates. “We all have that image of the primitive Neanderthal that eats lots of meat,” said Filipa Rodrigues, an archaeologist at the University of Lisbon and author of a paper published Thursday in Science. “Now, we have this new perspective that they explored the marine resources like Homo sapiens did.” Archaeologists have previously found evidence that Neanderthals ate, collected and wore jewelry fashioned from shellfish. But evidence they consumed large amounts of fish has been lacking. Some scientists have argued Neanderthals did not have the skill or wit to catch fish as their Homo sapiens contemporaries did in Africa, and may have lost out on consuming aquatic animals rich in fatty acids that could have aided with brain development. But d ... More

Ruth Asawa: A Line Can Go Anywhere
Asawa, who was known for weaving sculptures with wire and studying at Black Mountain College under Josef Albers and Buckminster Fuller, is featured in this first UK solo show
Ruth Asawa: A Line Can Go Anywhere, installation view, David Zwirner London, January 10 - February 22, 2020. Photo: Jack Hems. © The Estate of Ruth Asawa. Courtesy The Estate of Ruth Asawa and David Zwirner.
by HARRIET THORPE
Born from organic forms, inspired by mathematics, and woven methodically like baskets, a series of delicate wire sculptures by Ruth Asawa (1926-2013) is hanging from the ceiling at the David Zwirner Gallery in London. It is surprising that the Black Mountain College-educated artist, who studied under Buckminster Fuller and Josef Albers, and has been featured in major museum shows across the US, is only now the focus of a first UK solo show.

Ruth Asawa (1926–2013), Untitled (S.453, Hanging Three-Lobed, Three-Layered Continuous Form within a Form), ca. 1957–59, iron wire. Amon Carter Museum of American Art, Fort Worth, Texas, © The Estate of Ruth Asawa, Courtesy The Estate of Ruth Asawa and David Zwirner.
Ruth Asawa’s
Untitled (
S.453, Hanging Three-Lobed, Three-Layered Continuous Form within a Form) (ca. 1957-59) has been acquired by the Amon Carter Museum of American Art in Fort Worth. It has been on view at the museum since late October. The announcement today of the landmark acquisition establishes the Carter as the only institution in the country to have this type of Asawa’s work in its collection.

BEYONCÉ
In contemporary society – coined by some sociologists as a ‘cult of domesticity’ – representations of pregnancy are found ubiquitously in media and popular culture. Channelling Botticelli’s “The Birth of Venus” and Annie Leibovitz’s photograph of a seven-month pregnant Demi Moore, Beyoncé has established herself not only as the Queen of Pop but the reigning monarch of the pregnancy self-portrait. In 2017, her collaboration with artist Awol Erizku practically broke the internet, with her Instagram photograph breaking world-records for the most-liked post on the platform within eight hours. Overnight, Beyoncé set a new precedent for women finding empowerment through portraits of their pregnancy. 

The Late Noah Davis Gets His First Major New York Show, Curated by Helen Molesworth
Noah Davis, a staple of the Los Angeles art scene and founder of the Underground Museum, receives his first major New York show nearly five years after dying at 32. Here, Wallace Ludel reviews it for Cultured.
Wallace Ludel
01.18.2020
Noah Davis, "Painting for My Dad," 2011. Collection of Rubell Museum, Miami. © The Estate of Noah Davis. Courtesy The Estate of Noah Davis
“I don’t want tragedy to be the frame through which you see the work,” says superstar curator Helen Molesworth, standing before Noah Davis’s 2011

Exceptional art works from Lord Cholmondeley's Hyde Park flat up for auction
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When one half of the family is living in the historic splendour of Houghton Hall in Norfolk, how can the other half compete? In the Sixties, Cristiana, the Italian wife of banker Lord John Cholmondeley, younger brother of the 6th Marquess, did so by building a remarkable collection of contemporary art and design for their spacious apartments overlooking London’s Hyde Park, buying from fashionable galleries – Kasmin, Waddington and Rowan.
Over the years, she sold sparingly; a Hockney she bought for £350 sold for £3.5 million in 2013, and a construction with nails by German ZERO group artist Günther Uecker sold in 2014 for a near record £506,000. Otherwise, her living room, designed by David Hicks, remained intact for over 50 years until she died in 2017. Now the contents are being auctioned by Christie’s.

3. “Surface Tension: A Conversation with Jason Stopa” at Monica King Contemporary 
Artist and curator Jason Stopa will join Katherine Bradford and Craig Stockwell, along with Two Coats of Paint founder Sharon Butler and Hyperallergic editor Thomas Micchelli, for an evening of conversation on the occasion of “New Skin” Stopa’s latest curatorial project, on view at the gallery through January 25. The exhibition, which includes works by Michael Berryhill, Shirley Kaneda, and Clare Grill, among others, places emphasis on works that toy with idea of representation, conjuring ideas of objects, but leaving space for imagination.
Location: Monica King Contemporary, 39 Lispenard Street, East Entrance