Monday Links: Don’t We All Want a Dyke for President?

i-want-a-dyke-for-president

Zoe Leonard’s 1992 poem “I Want a Dyke for President” is justifiably having a moment. The piece has been blown up and installed underneath the Standard Hotel, and has recently gone viral as a video featuring Mykki Blanco reciting the poem. Basically, we have the two most unpopular major-party candidates ever, and “I Want a Dyke for President” sums up so many frustrations. [The Creators Project]

After jilted Marina Abramović collaborator Ulay was awarded a quarter million Euros a few weeks ago in the largest conceptual art lawsuit ever, Noah Charney tries to figure out just how much Abramović made and how. Unfortunately, he never really gets to the bottom of which works sold for how much and to who, but it’s a decent intro to the commodification of performance art. [Salon]

Creative Time director Nato Thompson describes Doomocracy as “less like hanging art in a museum and more like ‘putting on an opera at the Met.’” The Pedro Reyes installation spans multiple rooms of a derelict warehouse, and tackles issues from school shootings to climate change in the style of a haunted house. We can’t wait to see it. [artnet News]

Speaking of giant creepy abandoned buildings, this VICE documentary about Ohio’s sprawling “Ghost Malls” is amazing. Journalist Rick McCrank interviews photographers and ameature filmmakers who explore abandoned malls, and you come to realize how absurd and tragic the typology of the shopping center is—it’s the closest thing many suburbanites have to public/civic space, but since it’s privatized, its fate is tied to the whims of the market. [VICE]

Reflecting on Thomas Heatherwick’s $150 million “Vessel” slated for Hudson Yards, Aaron Betsky muses that spectacle-driven installation art has supplanted grandiose architecture as site of collective experience. I’m not entirely sold on that argument—the truth within that statement might have more to do with economics. It seems that the private sector is increasingly more likely to fund expensive art than the public sector is to fund expensive architecture. Most civic buildings are now designed by budget and zoning, but plenty of contemporary high-end private property still has a sense of whimsy (I’m thinking of Herzog & de Meuron’s cathedral-like Miami Beach parking garage). And many museums strive for both. [Dezeen]

Rob Goyanes is the best. Here’s his take on accelerationism, late capitalism, and environmental disaster as they manifest (/in) Miami. [Temporary Art Review]

An interview with East New Yorker Patrick Eug‎éne, who uses abstract expressionist painting to discuss gentrification. [PBS]

This is such a good idea. In many gentrifying cities, there’s paradoxically a surplus of school buildings due to closures or replacements. St. Louis is considering turning a former school into workforce housing for teachers. [Education Dive]