Roundup: L.A.’s gallery industrial complex, L.A. and density, and L.A. and Duchamp

Museums and money. Los Angeles and its many new galleries. And L.A. and its constant struggle with (for and against) density. Plus: Remembering Hieronymus Bosch, profiling Thelma Golden and celebrating Marcel Duchamp. Here’s the Roundup:

— What the designated protest area looks like at a Donald Trump rally.

— BP’s sponsorship of Britain’s Tate museums — the source of many protests — is coming to a close in 2017 after nearly three decades. The oil giant cites the “extremely challenging business environment” as the reason for its withdrawal.

— Sort of related: Museums are increasingly leaning on galleries to help fund exhibitions, raising all kinds of issues about conflict of interest.

— Can L.A. support all of its new mega galleries? That is something, writes Maxwell Williams, which remains to be seen.

— Speaking of galleries, there is movement afoot in San Francisco, too: John Berggruen and Gagosian (the latter, in a space designed by L.A. architect Kulapat Yantrasast) will soon be setting up shop across the street from San Francisco’s newly revamped Museum of Modern Art.

— Yet another New York Times story on the L.A. arts scene, because clearly L.A. is the new Brooklyn.

— And, because L.A. is not enough, the New York Times also has a story about the Mexico City arts scene — specifically, its alternative arts spaces. Curiously, I feel as if I already read this story … in Hyperallergic last year.

— As two museum shows devoted to the work of Robert Mapplethorpe prepare to open in L.A., Vanity Fair scribe Bob Colacello remembers the artist as a young man in 1970s Manhattan. Good dish.

— Plus, L.A.’s Duchamp moment.

— Remembering Hieronymus Bosch in all of his breadth and complexity. (Weisslink)

— The Washington Post has a terrific profile of Thelma Golden, the head of Studio Museum in Harlem.

— “The product-driven market for emerging artists has resulted in objects that are created and judged like stocks.” — Jewish Museum curator Daniel Palmer on the artist as brand.

— From Chanel to Nike to the Tate: Famous logos by women. (Paola Antonelli)

— New York has a crazy, pyramidal new building by Bjarke Ingels of BIG Architects. Justin Davidson reviews. For the record: A hidden artist chapel was torn down to construct this.

— “In the city of Los Angeles, replacing single-family homes with modest four-unit buildings would make room for nearly 2 million new housing units.” The Washington Post offers food for thought when thinking about increased density in Los Angeles and measures such as the nightmarish Neighborhood Integrity Initiative ballot initiative, which would essentially freeze L.A. planning in what is essentially a 1950s view of the city.

The Millennium project would put a pair of skyscrapers near the Capitol Records building in Hollywood. Some activists are seeking to put limits on projects such as these, which often require zoning variances.

(Luis Sinco / Los Angeles Times)

— All that said, anger at city planning efforts are wholly justified — as developers get variances on projects that squeeze the city’s middle and working classes. KCRW’s Design and Architecture has an in-depth look at the need for more responsible development and the urgent need to update the city’s planning codes. An absolutely essential 30 minutes of radio!

— Plus, the nature of the city’s homeless crisis and the photograph that captures the magnitude of the tragedy — and every Angeleno’s complicity in it.

— Also, Los Angeles may be re-segregating.

Portraits of the late leaders Kim Il Sung, left, and Kim Jong Il at at the entrance of the Pyongyang Indoor Stadium in North Korea last month.

(Wong Maye-E / Associated Press)

— “You eat in large empty banquet halls, located in large empty hotels. North Korea is a country full of negative space, of wide boulevards with no cars — silent, still, and eerie.” — An interesting essay by Greg Larson on travel and food in the DPRK.

— And last but not least, 36 things that haven’t been used as found object art as far as we know. That inflatable eagle would look boss on MOCA’s roof in Little Tokyo.

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