An adult woman who is actually obsessed with Barbie.
- Dear Opening Ceremony: Adult females do not have “five-year-old Barbie dreams.” If they do, it’s probably not a good thing. Re-evaluate your headline, please! [Opening Ceremony]
- Tonight in New York: an exhibition of smartphone-originated work by artists, mostly from Iran. Curated by our new-media faves Morehshin Allahyari and Myriam Vanneschi. [Babycastles]
- For her current residency at software giant Autodesk, Morehshin Allahyari is making 3D prints of historic statues destroyed by Islamic State. [Motherboard]
- “We’re all going to die,” the political campaign. [The Awl]
- Journos, randos, and bloggers have already begun to descend on Minneapolis for the Walker Art Center’s Superscript, a conference on the future of online art journalism. On the Walker’s online mag, you can now read what several internet-y writers and curators think about what the near future holds for the state of digital art crit. ¯\_(ツ)_/¯ [Walker Art Center]
- Stop making fun of women for using emojis. Studies now show that women are far more creative writers thanks to the digital age. (Cool, now let’s see this talent equate to top editorial jobs.) [The Cut]
- Adam Gopnik knows how to tailor his sentences, and his arguments. In the latest New Yorker, he analyzes the moral and legal imperatives behind paying artists royalties for the resale of their works. But who is his audience, really, with a sentence like “Whatever Phidias or Praxiteles did it for, it wasn’t for the naches”? Ivy-league grad students focused on Yiddish and Greek? [The New Yorker]
- Oh, hai, Mark Dorf! Your interviews are all over the digi-internets right now. Rhizome just interviewed you for its “Artist Profile” series, and you’re interviewing photographers for LENSCRATCH. [Rhizome, LENSCRATCH]
- Future-speculators, the Oculus Rift virtual-reality headset will cost you around $1,500. The consumer version should be available in early 2016. [Polygon]
- 500 feet of copper cable was stolen off subway lines in Queens on Wednesday, causing delays in rush-hour traffic this morning on the A and C line. [The New York Times]
{ 8 comments }
Clever New Yorker subscribers (a majority of their readers probably consist of subscribers) want references to High Culture (Greek sculptors in this case) washed down with cutesy slang or in this case Yiddish. I wonder how many subscribers are Jewish (although most urban goyim are familiar with a handful of Yiddish words such as oy vey.) New Yorker editors/writers (who knows which) are very self conscious about mixing High and Low cultural references. it is an awkward and sometimes absurd balancing act. They need the High stuff to maintain their prestige level (they are still the most selective publication when it comes to Fiction), but they don’t want to alienate the college grads who don’t know shit about High Culture and revel in the fun Low stuff, like graphic novels, popular films, etc. For the New Yorker there must still be a distinct divide between High and Low, although for most of the literate outside world, no one gives a shit. There isn’t an art critic or artist out there who wouldn’t acknowledge the writing talent of Peter Schjeldahl, but boy if I see yet another fucking museum show review by him I will scream. Well that is actually a lie. I stopped reading him years ago. In sum, the New Yorker plays it safe in many ways, conservative in taste, chock full of High Culture references, but they try hard not to appear cut off from the hoi polloi.
Beautiful response, Eric!
Thank you very much. If you need writers please let me know. I quit my last art writing gig. I also do art cartoons. You are one of only two relevant art writing sites on the Internet. Keep up the great work!
Speaking of stolen copper cable, I was in line the other day at a recycling place getting rid of a junk bedframe I dont want any more and in line were about 7 men, 2 of which were obviously homeless and they each had a children’s bicycle, and the rest were men in yellow construction attire getting rid of cables for a quick buck, and then this one guy who looked like a juggalo getting rid of 2 huge sheets of beautiful pristine copper. there were signs all around that said ‘no cash for copper, checks in 5 days after background check’ so its obvious that there’s a huge market for what appears to be stolen stuff, but I wonder how hard they actually try to thwart crime with those background checks, I wonder if they even DO background checks. Which brings up the elephant in the room: the line consisted of only MEN. no females in the line. I decided to get everyone’s attention and I just said aloud ‘excuse me, can I have everyone’s attention?’ two of the workers were like yo nuh uh get the f— outta here, it looked like I was starting trouble obviously. But I didn’t leave and I protested very verbally: This line is MEN only. This boy’s club is sexist and offensive. I am not going to sell my bedspring to a facility that caters exclusively to MEN.
I hear that plastic-bottle recycling centers are frequented by a clientele approximately 36% female.
art show. with artists mostly from iran. not enough diversity in the show in my opinion. it seems closed off and racist. next time speak up against this racism.
Looking forward to your anti-racist blog post! : )
I laughed a bunch and agreed with the point on Gopnik’s reference for a second. But I remembered enjoying that part of that article even without knowing who they were exactly. And but so, it is art-history and it made sense and learning is fun. ALso too but, I think the New-yorker is-might-be, by nature, specifically for Ivy-league grad students focused on Yiddish and Greek .tee hee.
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