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The Merry-Go-Round Stopped. What Sort of Art Will Emerge? – The New York Times

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No museums, no galleries, no fairs, no art schools; no openings, no studio visits, no arguing over beers, no gauche private-jet partnerships. In a matter of days, the world of contemporary art went from a reverberant global network to a ghost town, sheltering in place as the coronavirus endangers our cities and our livelihoods. Like every other sector, art is having to go digital. There is no shortage of artists and critics (including me, all too often) who have bemoaned the way Instagram and other platforms have transformed contemporary art. Count your blessings: Now Instagram is almost all we’ve got.

These first days of physical isolation and cultural deprivation have been a furious gyre. The absolutely requisite closure of the museums — promptly in the United States, more tardily in Britain — may aggrieve those of us who find solace in art, but they have shuttered before: The Louvre’s collection was evacuated during World War II, and New York’s museums were padlocked, briefly, after the Sept. 11 attacks and Hurricane Sandy.

Ticket sales at museums account for a smaller percentage of total income than they do at opera houses or dance companies, yet already the carnage is mounting. The Metropolitan Museum of Art, with a princely endowment of $3.6 billion, has projected a loss of $100 million; institutions with smaller reserves are drawing down fast, and may never reopen. This week the Met launched a lobbying campaign, #CongressSaveCulture, seeking billions in federal relief funds for museums — and philanthropists, too, will have to step up, even as their investment portfolios are getting diving.

Just as endangered are the commercial art galleries, especially the midsize institutions for whom sales and fairs constitute an ever greater percentage of annual revenue. They are the ones bearing the brunt of the impact of the cancellation of this month’s Art Basel Hong Kong, and of Frieze New York in May.

And then there are artists, who need cash right now as much as any citizen (perhaps especially since they have little recourse to unemployment or paid time off). Already, they are collaborating to assemble emergency resources as their exhibitions and teaching gigs get canceled, and forging networks of solidarity through Instagram, WhatsApp and other platforms.

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In their studios, if they can somehow make the rent, some artists may learn to focus as intently as Hilma af Klint, who painted for decades in secret, or the Philadelphia Wireman, who made more than a thousand compelling sculptures of tangled metal without exhibiting or even leaving his name.

But I suspect an af Klintian concentration will be the minority case. For most artists, for most citizens, the experience of social distancing has not been peace and quiet, but perpetual bombardment with news and images on a smartphone screen. Maybe it’s therefore time to look again at Amalia Ulman, the Argentine contemporary artist who posted selfies to Instagram for months in the guise of a basic birdbrained wannabe “influencer.” Maybe it’s time to ask whether this social platform can be not just a promotional tool for art, but a medium in its own right.

While reproductions can never make art truly accessible, I’m glad to see efforts to expand digital offerings are also underway, in both the for-profit and nonprofit sectors. Directors of museums in Italy’s hard-hit northwest, including the Pinacoteca di Brera and the Fondazione Prada, in Milan, and the Castello di Rivoli, in Turin have launched rough-and-ready virtual renderings or video walk-throughs of their shuttered exhibitions. New York museums with robust digital assets, from the Frick Collection in Manhattan to the Corning Museum of Glass upstate, have resurfaced their 3-D tours and video interviews, and new offerings are coming soon from, among others, the Museum of Modern Art. And the dealers who would have been in Hong Kong last week — bitter paradox: that city is probably safer now than the western art capitals — are selling their wares, or trying to, through Art Basel’s digital viewing rooms.

Everything will be taken away,” forewarned the Berlin-based American artist Adrian Piper — who for years has repeated that aphorism, with the violent anonymity of the passive voice, on prints or mirrors or old-fashioned school blackboards. We are set to lose lives, careers, but also institutions, practices, traditions. Perhaps it’s best now, to reflect on what our present isolation teaches us about what art has become, and what we want it to look like when we re-emerge.

Contemporary art, in the last few decades, has morphed into a round-the-globe, round-the-clock industry, and just as disruptive as the closure of our local museums has been the locking down of borders and the grounding of flights. The Romantic cliché of the artist as genius, carving beauty out of marble, was replaced by the artist (and later the curator) as traveling entertainer, constantly on the road. Its paradigmatic images come from a Swiss duo, Fischli/Weiss, whose “Airport” photographs, more than a thousand of them, picture the mundane departure halls and jet bridges they passed through for decades, en route to this biennial or that lecture. On Lufthansa or Air France, in a Japanese museum or an Australian converted loft, the artist is the person moving through neutral spaces, once thought of as sterile, now vessels of contamination.

What Fischli/Weiss captured in “Airports” was the way the art world assigns relevance through motion, and how even local institutions conceive of themselves as nodes in a global network of images and objects on the move. (Think of the new MoMA: once a temple where you’d reliably see the same Picassos on the same walls, now a place where artworks shuttle back and forth, and no room is the same for long.) As the critic Kyle Chayka brilliantly observed in Frieze magazine, art used to justify itself with stories of historical progress, whereas now it relies on “constant juxtaposition against new people and places,” perpetually en route to no destination in particular.

The rise of digital media did not arrest this globe-trotting but accelerated it. Now I can’t count the number of artists and writers I know who purported to be working from at least two places at once, “between Brussels and Los Angeles,” “between Berlin and Accra,” and who now have had to hunker in place.

Their patron saint, and mine, too, is the narrator of “Flights” (2018), a chain of related fragments by the Nobel-winning author Olga Tokarczuk, who tells us: “Fluidity, mobility, illusoriness — these are precisely the qualities that make us civilized.” For so many artists and critics and curators of my generation, your career has to fit in a carry-on.

We knew, as the climate crisis deepened, that this global art world constantly on the move was coming under necessary pressure. Now the prophylactic stasis demanded by this pandemic has violently accelerated the art world’s reassessment of what all this travel was good for.

The task of artists in this new plague year will be to reestablish painting, photography, performance and the rest as something that can still be charged with meaning, and still have global impact, even when we’re not in motion. Or at least that is the long-term mandate; the short-term task is to survive.

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James Murdoch's Firm to Invest in Ailing Art Basel Organizer – BNN

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(Bloomberg) — James Murdoch plans to invest in ailing Art Basel organizer MCH Group, which has been hammered by delays and cancellations due to the coronavirus pandemic.

His investment company Lupa Systems will acquire a stake of 30% to 44%, Basel-based MCH Group said in a statement Friday. The company also plans to add Murdoch to the board of directors.

MCH Group has been battered by the coronavirus outbreak, which led to some of its biggest events being called off. The Art Basel show, slated for September, was canceled, and big-name brands like Rolex and Patek Philippe deserted its watch exhibition Baselworld, leading to the scrapping of the show. Sales will slump by as much as 170 million francs ($180 million) this year.

Lupa Systems is a technology and media fund founded by the younger son of billionaire Rupert Murdoch. It has acquired stakes in Vice Media and the Void, which focuses on virtual-reality entertainment. James Murdoch also got into business with Robert DeNiro to help the owner of the Tribeca Film Festival expand.

MCH Group will propose a 104.5 million-franc capital increase and a restructuring of its debt capital at an extraordinary general meeting on Aug. 3, which is when shareholders will vote on Lupa Systems’ entry as a new shareholder with a lock-up period of five years.

©2020 Bloomberg L.P.

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Sooke Fine Art Show gears up for July 24 launch – Saanich News

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One of Sooke’s most relished events is just a few brush strokes away.

The Sooke Fine Art Show is gearing up to showcase a wide selection of local art, but this year the show takes place virtually. Artist submissions are in, and organizers are ready to launch the new website for the show.

Terrie Moore, executive director of the Sooke Fine Arts Society, said organizers worked hard to reflect the same feel of the in-person art show as much as possible.

“It’s been a 180-degree switch from previous years, and getting as many aspects of the live show up online has been a huge learning curve. Overall it’s been a really rewarding process,” Moore said.

This year, people can visit the show online anytime from July 24 to Aug. 3, although Moore added it might be possible to buy art from the website until the end of September. There is no fee to view the galleries.

A wide range of categories is featured in the show, including more than 375 juried works of paintings, drawings, sculptures, photography, fibre arts, jewelry, glass, and ceramics in a virtual format.

Despite the pandemic and the changes to this year’s format, the show had 87 per cent of its usual amount of submissions.

There will also be interactive elements included in the virtual show, such as artist demos, virtual performances, a youth art gallery, an online auction, senior’s tea, Artz4Kiz, and more.

ALSO READ: Multi-Belief speaker series returns July 21

“The nice thing about our online show is providing access to people who may not have been able to visit the show otherwise,” Moore said.

“We’ll miss the excitement and camaraderie of working together on the physical show, but our priority is the well-being of our volunteers, artists, and our guests with respect to COVID-19 concerns. And while we’re excited about the opportunities this year’s online show presents, we are looking forward to returning to a physical show next year for our 35th anniversary.”

This year’s Purchasers Preview night will be held on July 23, where art lovers can get the first look at this year’s show. Local chef Pat Hogan of 4 Beaches Catering, has created a special appetizer box that people can purchase and enjoy while they “attend” the event at home.

Moore said this year’s show inspired a lot of connections between local businesses, organizers, artists, and community members, who all were willing to help out and make the event possible.

For more information, to donate or to sponsor the event, please go online to sookefinearts.com.

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'The art was lonely:' Ottawa galleries, museums begin to reopen – OttawaMatters.com

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Ottawa’s museums and galleries have started reopening after COVID-19 restrictions, but there are some changes that patrons will need to heed before paying a visit.

The Ottawa Art Gallery opened its doors on Wednesday, with the first day reserved for frontline workers. The general public was allowed to tour the gallery beginning on Thursday.

“The art was lonely,” jokes CEO Alexandra Badzak. “We’re very happy to have people back in the building, that’s our job; we’re here to bring a connection between art and our community.”

In a very abnormal time of navigating a world of COVID-19 restrictions and precautions, Badzak notes that a visit to a gallery can help provide some relief.

“We know that art is a really important part of making you feel relaxed and connected to community,” said Badzak.

In Carp, the Diefenbunker has re-opened its blast doors, but with a few changes to reduce the risk of COVID-19 transmission: sanitizing stations and physical distancing markers have been placed around the bunker, and staff are limiting the number of people allowed inside at one time.

“There’s a couple of exhibitions that we did have to close, due to high-touch areas or spaces we couldn’t ensure physical distancing,” said Christine McGuire, the Diefenbunker’s executive director. “But really, the majority of the museum is open to the public, as it was before.”

The Ottawa Art Gallery requires visitors to book their visit in advance, online. Visits are limited to a three-hour block of time, but people can roam freely in the gallery without having to follow a set path.

Purchasing tickets to Diefenbunker online is optional, but the museum is restricting payment to online and cards only.

Additional precautions required are on the Diefenbunker’s and Ottawa Art Gallery’s websites.

Many other galleries and museums in the capital remain closed while they adapt to COVID-19 restrictions.

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