Morning Links: Bowery Edition

The Bowery in 1961. (William Lovelace/Express/Getty Images)

The Bowery in 1961. (William Lovelace/Express/Getty Images)

Ann Landi looks at the history of modern artists destroying their work. Says Pat Steir, “Agnes Martin told me, in 1971, if you don’t like a work, throw it away the way you would throw away a bad friendship.” [ARTnews]

Here’s an article about conserving contemporary art. Asked about how collectors and institutions can work to make sure his work survives, Swiss artist Thomas Hirschhorn explained, “My art is made for eternity.” [Swissinfo]

“Nowadays there are only two professional uses for a handsaw. You can put it on your knee and play it, or you can lay it flat and paint it, which is what Rico Solinas does.” [San Francisco Chronicle]

Martha Schwendener reviews the New Museum’s excellent “Come Closer: Art Around the Bowery, 1969-1989” exhibition, and mentions the cookie bar at the Whole Foods on the Bowery. [NYT]

According to the AFP, Edvard Munch is not receiving proper recognition in Norway, the country that he called home. The 1,100 paintings, 3,000 drawings and 18,000 etchings that he donated to Oslo are housed in a subpar museum built after World War II. [AFP]

Jonathan Jones on the angels that Leonardo da Vinci painted. [The Guardian]

When a new 26,000-square-foot pavilion opens there in July, the Colby College Museum of Art will be the largest art museum in Maine. [Kennebec Journal]

In case you missed it, here’s Sebastian Smee on the newly renovated Yale Art Gallery in New Haven, Conn. [Boston Globe]