- Spoiler Alert: Rupaul’s Drag Race: All-Stars has a whole new elimination process. It’s pretty complicated, and definitely engineered for maximum over-the-top drama. [A.V. Club]
- Sonja Stummerer and Martin Hablesreiter, a.k.a. “Honey and Bunny,” are architects-turned-performance artists who aim to disrupt notions of polite, wasteful dining. This involves wrapping themselves in saran wrap and cutting cake with a chainsaw. [The New Yorker]
- Tamiko Thiel’s augmented reality piece “Gardens of the Anthropocene” allows viewers to wander post-apocalyptic Seattle and witness what alien flora might take over due to climate change. [Seattle Times]
- A Chinese man has been arrested after he vandalized several fiber optics boxes. Apparently he was upset that he had been photographed square-dancing, and wanted to destroy the internet so people couldn’t make fun of him online. [Kotaku]
- A really smart interview with Nicole Caruth, the curator of The Grace Jones Project and Emily Kuhlmann, Director of Exhibitions as the Museum of the African Diaspora (MoAD) in San Francisco. The show is currently on view at MoAD. Caruth observes that Jones is often seen through the lens of her white male collaborators and that exhibition texts often would have you believe she is merely a muse. Not so. [Hyperallergic]
- “Under US copyright law, the use of copyrighted material in a work of art is considered fair use if it comments on the original source material; Prince is leaving literal comments beneath the Instagram photos he reproduces.” Surprise! Richard Prince is getting sued again. [The Art Newspaper]
- The New York York Times would have you believe that its latest art feature is breathtaking work of reportage. “We tried to find out what goes on in the mind of the modern museumgoer, unscientifically, by staking out the Met Breuer and interviewing nearly 50 art gazers over the course of two months, their pensive moments pierced by our questions as they peered at works.” What follows are side by side pictures of viewers and the painting they looked at, (the layout is confusing—why do we need to see portraits of the viewers?) and one line reflections on what they saw. Nobody has anything interesting to say. [The New York Times]
- Residents of Bristol are unhappy that sculptor Frank Benson’s statue of “castaway” Alexander Selkirk is going to be installed in a cemetery—largely because it’s “terrifying.’ [ART news]
- I guess you really can rap about anything. Welcome Fart Touch by BIG STOOPID. Choice lines include, “My fart went BOOM!” and “Get your gas masks if you can’t take the smell” Not for the squeamish, but unexpectedly funny. [YouTube via metafilter]
- Tel Aviv’s Bauhaus architecture is totally dreamy. [Dezeen]
- “You can’t beat homelessness with economic growth”, writes Evan Horowitz. Why? Because the cost of housing is more expensive in areas with high density populations and wealth, thus pushing those on the brink of homelessness out of their homes. According to this report, Massachusetts has been setting a good example on the policy front. [The Boston Globe]
- “Dinild Trimp” is a mysterious social media figure assembled from photoshopped parts of Donald Trump. It’s gross. [The Creators Project]
Tagged as:
Bauhaus,
BIG STOOPID,
Bristol,
Dinild Trimp,
Emily Kuhlmann,
frank benson,
Martin Hablesreiter,
Museum of the African Diaspor,
Nicole Caruth,
richard prince,
RuPaul's Drag Race,
Sonja Stummerer,
Tamiko Thiel,
Tel Aviv,
The Grace Jones Project
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