Twitter, Facebook, Instagram, the blogz—if you can type on the platform and you’re in the art world, you’ve probably weighed in on the debate over Dana Schutz’s painting of Emmett Till. The painting is based on a photograph of African American Emmett Till, laid in a coffin. The 14 year old young man was brutally murdered in 1955 for flirting with white woman, his face horrifically disfigured in process. Earlier this year, it came out that the story was made up.
When I went back to school for accounting, I never thought I’d get an education in healthcare. But the Affordable Care Act (ACA, aka Obamacare) forced tax preparers like me into learning about our healthcare system, because most of the credits and penalties are reconciled on the tax return.
Given this background, I have some insights on what the new Republican proposal, the “American Health Care Act” (ACHA, aka Trumpcare) would do to you, me, and our federal budget. It’s not good.
Windows nostalgia hits a sweet spot for us as it’s one of 8 possible backgrounds to chose while reading this site. So, naturally, we’re drawn to this GIF by Anthony Antonellis, which appears to combine Windows iconography with stock powerpoint transitions. As it happens, the piece also neatly fits the definition of “defaults”, as per Guthrie Lonergan’s 2007 net art taxonomy of Hacking vs Defaults.
We are a people in mourning. A dark shadow has been cast from Gotham’s blackest tower, stretching across the land. We lament at its doorstep.
We, the nation’s bloggers, journalists, artists, and critics were some of the first to cry. But our cries went unheeded. Now we must paint our lips in the darkest of hues and adorn our bodies with the garments of bereavement. It is time for our sadness to be made visible.
It is time for a Goth Opera.
In an era when independent journalism couldn’t be more critical, Art F City will throw its first goth opera to benefit this essential work, featuring the rich, versatile 3+ octave voice of Joseph Keckler. Like a black velvet hood, our event will instill an element of mystery opulence—all in support of independent journalism and the arts in 2017.
Based on her tags on Tumblr, we’ll describe Argentine artist Catalina Muñoz as a “Cyberpunk Grrrl”. Her blog is full of great GIFs, including these strange tableaus of Barbie is burqas in various settings, from hot pink offices to doll houses. These are probably some of the strangest GIFs I’ve seen in a while, which is saying something.
“Cómo hacerse amigas/How to make friends” #1
Much like Paddy’s experience of the Whitney Biennial, New York’s art scene this week is dominated by the political with a healthy smattering of painterly painting, ubiquitous identity politics, and the unapologetically weird.
Highlights include a talk about “the intersectional self” at the 8th Floor featuring Genesis P-Orridge on Thursday, followed by a solo show from Dona Nelson at Thomas Erben Gallery. We’re looking forward to Ernesto Burgos’ work at Kate Werble Gallery (think ab-ex in 3D) on Friday night and some afro-futurist cyberpunk world-building by E. Jane at American Medium on Saturday. If you need a moment of zen before the work week starts, head to E.S.P. TV’s closing reception at Pioneer Works on Sunday—you can join them on a corporate retreat, complete with a self-help guru.
Art history is full of paintings depicting human misery and death. Kajetan Obarski, an untrained artist born in Poland and living in Amsterdam, takes this to an amusing new level with his use of the animated GIF. The message is often literally spelled out in his GIFs—”You’re All Going To Die”—which has us thinking he’s a bit like Banksy for GIFs. Some obviously work better than others. Check it out. (Hat tip: Carol Cole)
Last month, I checked out what was on view at some of Mexico City’s galleries during the art fairs. Over the past week, I stopped by a few more. Highlights include Rurru Mipanochia at ArtSpace Mexico (bastion of queer contemporary art), SANGREE at Yautepec, and Mauricio Limón at Galería Hilario Galguera a few blocks away. Today is the last day to see Mauricio Limón’s show, and I highly recommend it.
All three very different solo shows share one thing in common: they mine Mexico’s turbulent post-colonial history with a sense of humor. Strategies range from queering pre-Columbian cosmology or hybridizing Mayan and classical European pottery to recycling imagery from currencies that failed in the face of globalization. Notably, none of this work comes across as bitter or preachy.