- The year: 1986. The Cure are about to play a concert in suburban Maryland, and a local news station is on hand to interview “kids these days.” It’s a real gem. [Baltimore City Paper]
- Best listicle/slideshow: “12 Masters of the Creepy Uncanny Before Jordan Wolfson.” [Blouin Artinfo]
- Dawn Chan points out that a number of Asian cultural products, as well as American cultural products that depict Asians, are more often than not set in the future. But why are Asians so underrepresented in the present? [Artforum]
- Speaking of Asia-influenced futurism, Dave Addey has meticulously dissected every shot in Blade Runner to discuss the props’ graphic design and typography. [Typeset in the Future]
- The New York Times asks Pankaj Mishra and Rivka Galchen “Is the Idea of ‘Art for Art’s Sake’ a Sign of Social Privilege?” Thankfully, neither of them respond by directly addressing that obnoxious question. [The New York Times]
- A new app from StreetEasy lets you pick your college major (an indicator of what salary one is expected to make in New York City), percentage of income you’re willing to spend on rent, and desired number of roommates to find neighborhoods with housing for recent college grads. Really, it just shows you where there’s cheap rentals. Which is almost nowhere. [Curbed]
- A red carpet, fog machine, choreographed dancers, and plenty of glittery party decorations on the facade of the house (including a poster with portraits)… this is how one girl staged her dress reveal on the way to prom. In this 3 minute video, there’s not one second where her date doesn’t look mortified. [Facebook]
- “Going to an art fair always brings to mind the great song by the 70s LA punk band Fear, ‘New York’s All Right If You Like Saxophones,’ which we amend in this case to ‘Art Basel’s All Right If You Like Julian Schnabel’s New Purple Paintings.’” Quote of the day, from Tom Christie. [Observer]
Tagged as:
art basel,
Asia Futurism,
Blade Runner,
Dave Addey,
Dawn Chan,
Jordan Wolfson,
maryland,
Pankaj Mishra,
Rivka Galchen,
The Cure,
Tom Christie
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