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Briefing

LA residents call for galleries to leave their neighbourhood and legendary Factory photographer Billy Name passes away

  • Legendary American photographer Billy Name has died, aged 76. Born William Linich, Name came to prominence in the 1960s as the in-house photographer at Andy Warhol’s The Factory, producing some of the most iconic images of those involved from 1964–70. He was responsible for its iconic silver foil interior and captured the likes of Candy Darling, Bob Dylan, Baby Jane Holzer, Nico, and Edie Sedgwick.
     
  • A report first published in Analytical Methods in April claiming that the formaldehyde works included in Damien Hirst’s 2012 exhibition at Tate Modern were dangerous has been retracted. Philippa Hughes, executive editor of the journal, said: ‘Further to the expression of concern we published last week, we are following due process towards retraction, in line with our ethical publishing policy and in consultation with the authors.’
     
  • Texan institution the Contemporary Austin has established a biennial artists’ award, the Suzanne Deal Booth Art Prize. The inaugural winner, who will be announced later this year, will be awarded USD$100,000 and will be the subject of a solo exhibition at the gallery in 2018.
     
  • Christian Marclay has been awarded this year’s SFMoMA Contemporary Vision Award. After Annie Liebowitz, Marclay is the second recipient of the award, which was established in 2015 to recognize artists who ‘redefine contemporary visual culture and make the art of our time a vital and meaningful part of public life’.
     
  • Residents of Boyle Heights in Los Angeles are demanding that art galleries vacate the neighbourhood. Maga Miranda, a member of activist group Defend Boyle Heights, said: ‘We have one pretty simple demand, which is for all art galleries in Boyle Heights to leave immediately and for the community to decide what takes their place.’ The group see the influx of galleries as part of a broader gentrification campaign by politicians and developers to ‘artwash’ the neighbourhood and displace its local community.
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Janiva Ellis, Catchphrase Coping Mechanism, 2019, oil on linen, 2.2 x 1.8 m. Courtesy: the artist and 47 Canal, New York; photograph: Joerg Lohse

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