Morning Links: Roman Street Art Edition

Art vendors on the street in Italy's capital. (Courtesy Photo Libra)

After banning vendors near tourist traps like the Colosseum, Roman government officials are now fiercely regulating the number of street artists allowed to hawk their paintings to visiting sightseers. Permits will be handed out according to technical skill, to be judged by a panel of experts. [The Art Newspaper]

New director appointments at Marianne Read More


Morning Links: More Adorable Cat Art Edition

Works in "Another Cat Show" at 356 Mission Gallery in Los Angeles. (Courtesy 356 Mission)

Roberta Smith writes 1400 words about the tiny El Greco show at The Frick—just two canvases!— including these seven: “The show is, simply put, a stunner.” [NYT]

Gagosian Gallery’s outpost in Rome will haul some works a few blocks down the street to the Galleria d’arte Moderna, which is building an extension to exclusively Read More

street art

An Art-World Assault on the 21st Precinct

Photo by Lauren Elkies Schram

This weekend is the last chance to catch the art world’s invasion of a former New York police precinct.

For the past two months, 55 artists have been at work painting the interior of 327 East 22nd Street, the four-story building that once housed the 21st Precinct. The featured artists include Pesu Art, Giz, Ghost, Savior and Jay Carlos. Read More

Art History

Framed? A Rauschenberg is Silent Witness in a 1954 Brooklyn Murder


When historian Andrew Scott Carter tried to unravel the inspirations for Robert Rauschenberg’s 1954, Collection, he stumbled into a murder mystery.

Sixty years ago this month, four Jewish teenagers dubbed the “Kill for Thrills Gang” were accused of slaying black factory worker Willard Menter under the Williamsburg Bridge; during extended police questioning, they admitted to Read More

On View

Amy Sillman: Art Meets Intimacy at Hessel Museum of Art, Bard College

Installation view from Amy Sillman: ‘one lump or two.’ Shade (2010), Purple/Pipesmoker (2009). (Courtesy Chris Kendall Photo)

A show of 25 years of Amy Sillman’s work on view at the Hessel Museum, Bard, begins with an uncharacteristically small painting. Most of Ms. Sillman’s painting is abstract and moderately vast, but Lemon Yellow Painting (2001) is a tiny, luminously colorful take on two coupled bodies. In its abstracted forms you can make out the flash of a tit, a mouth, an ass, a supine spine: it’s painting as a meditation on flesh, half-obscured (lesbian?) sex, and closeness, a fitting kick-off to a show that makes the case that there’s really no separating abstraction from figuration, or art from intimacy. Read More