Paddy Johnson is the founding editor of Art Fag City. In addition to her work on the blog, she has been published in New York Magazine, artreview.com, Art in America, The Daily, Print Magazine, Time Out NY, The Reeler, The Daily Beast, The Huffington Post, The Guardian, and New York Press, and linked to by publications such as The New York Times, The Wall Street Journal, New York Magazine, Boing-Boing, The New York Observer, Gawker, Design Observer, Make Magazine, The Awl, Artinfo, and we-make-money-not-art. Paddy lectures widely about art and the Internet at venues including Yale University, Parsons, Rutgers, South by Southwest, and the Whitney Independent Study Program. In 2008, she became the first blogger to earn a Creative Capital Arts Writers grant from the Creative Capital Foundation. Paddy is also the art editor at The L Magazine, where she writes a regular column..
Art F City’s 10th birthday has finally arrived. We’re celebrating TONIGHT at Lightbox (339 West 38th Street, 6:30-10:00 p.m.) by throwing a party to remember, our 10th Anniversary Power Women benefit and live auction.
Over gchat today, we weren’t sure what to say about Sally McKay’s GIF “Peer Review“.
Whitney Kimball:I think this GIF is really smart but I don’t get it.
Are we scanning over each other’s art too fast to give it a real review?
Paddy Johnson: I suspect it’s just a reflection of the concerns her own job as a professor brings up.
It’s probably not an accident that the paper scrolls in the direction of the blog.
I like that the peer review runs in two second loop.
You rehash the same conversations, watch the same image go by.
There’s an interpretation of this GIF, that’s really critical of how we discuss and make art.
And you never see the whole piece at once.
You’re forced to piece the text together (which isn’t that hard).
Whitney Kimball: Mmm. And the picture itself is a pretty standard geometric doodley thing torn out of a notebook.
Photographer Mary Ellen Mark and her husband director Martin Bell are crowdfunding a follow-up to their 1983 project Streetwise, which documented the lives of eight teenagers who lived on the streets of Seattle. Bell’s original film was nominated for an Oscar, and Mark’s photos were published in a monograph by Aperture. [Kickstarter]
Ryan McGinley profiled in the New York Times , focusing largely on his role mentoring younger artists. The piece ends “I’m learning just as much hanging out with Petra [Collins] as she is hanging out with me.” [The New York Times]
Mathilde Aguis and Reto Schmid’s new show “Daze Daze” available online for those of us not in Zürich. [Novembre]
The New Yorker on Alain de Botton’s new book, Art as Therapy. The book advocates for museum curators thinking more like therapists, organizing galleries around “human-scale themes, like marriage, aging, and work.” The website for the book includes a tool for finding a work of art that might improve your day. [The New Yorker]
Martha Stewart has been tweeting some truly gross looking food. Buzzfeed picked up on this, and Stewart responded via twitter with an image of some grey pasta and the comment “Now if any one thinks this is a bad photo you are ridiculous.” It is a bad photo. Anthony Bourdain hashtagged it #deadpastababy and #stopmebeforeikillagain. Very entertaining. [@petewells]
Last night’s Youtube spelunking introduced this Canadian to Schoolhouse Rock. Some favorites: Figure Eight and the classic, I’m Just a Bill. This came out of the revelation that this kids video on Pi is an imitation of 70’s public access television. [Youtube]
Occupy has purchased $15 million worth of American medical debt. Incredible. [The Guardian]
Cole Books has sold the site that is home The World’s Biggest Bookstore to a Toronto developer. The store, (which is not actually the world’s biggest bookstore, but large none the less) will close this February. [The Toronto Star]
Jerry Saltz calls for an end of what he calls Neo-Mannerism. You know all those tropes that make art look like art? Saltz is tired of all of them. The offenders aren’t named though, which is a bit of a disappointment. [New York Magazine]
We use Google Docs all the time to edit on the blog, but we’ve been noticing a bunch of bugs lately. There’s no better alternative to working in the cloud with all your other editors—yet, but Draft’s one alternative we’re curious about, especially since it doesn’t immediately let other collaborators delete your original copy. [Draft, via @Choire]
Having trouble figuring out whether we liked your show? Try plugging the text into Stanford University’s live demo for predicting the sentiment of movie reviews. It creates a diagram to reflect how positive or negative the review actually was. [Stanford]
Mike Kelley opens on Sunday. In anticipation of the show, The New York Times has a profile on the artist which talks about his position to education (he thinks he’s been brainwashed), pop culture (he thinks it’s garbage), and mud wrestling (he’s fascinated by it). [The New York Times]
On NPR this morning, we got to hear some fluff about “3-D Printing a Masterwork for your Living Room.” From the sounds of it, 3-D printed sculptures might be an affordable way for art to reach the masses—and maybe a way for museums to make a buck. [NPR]
The Walker Art Center’s Internet Cat Video Film Festival is hitting the road, and stopping in Brooklyn. Surprisingly, the museum’s fest isn’t going to be at an art spot; rather, on October 25th, you can grab seats at the Warsaw, one of Greenpoint’s largest music venues. [The Walker Art Center]
Update on 3rd Ward’s closing: tenants are trying to stay in the building. [DNAinfo]
Only the Wall Street Journal would name Natacha Ivanova, Hugo Wilson, Denis Darzacq, and Luka Fineisen “rising art stars.” Those are four of the five names cited in an article that profiles terrible art by artists you’ve probably never heard of for a reason. Nina Beier, the fifth artist chosen, looks like a reasonable pick. [The Wall Street Journal]
MoMA has purchased Occupy Wall Street’s print portfolio, a series of 31 screenprints organized by the Brooklyn Artists Alliance. [ArtInfo]
We know what we’re doing this week. We’re stopping by this summer’s neo-feminist-queer-sex-positive-anti-institutional performance festival “Emergency Glitter,” which, among many others, features AFC’s own roommate Rebecca Patek.
Janaina Tschape lost $150k to her assistant, who traveled in luxury and spent money on EZPasses for her family. [NYPost]
The Times has a front page feature on how concerns about the Art Market’s lack of regulation is rising. The article is a 101 course on the gallery and auction world, and lists anything from gallery failure to list prices at their door (not a real problem) to third party guarantees (actual problem). Our favorite exchange in the piece occurs over the subject of “Chandelier bidding”, a practice in which auctioneers bring the price of an object up in the absence of bids, by pointing to the ceiling, and grabbing them out of thin air.
“I don’t think it’s unreasonable, given the clientele and players, to have that little bit of theater,” Mr. Aponte, the consumer affairs commissioner, had said in 1986 during an earlier debate.
Mr. Feigen, the art dealer, said in later hearings that he did not find that argument compelling.
“If I want drama, I’ll go to Broadway,” he said, “not to a financial market.” [NYTimes]
We read a lot of complaints about Blouin ArtInfo’s Canada’s Top 30 Under 30. Listicles suck and older, under-recognized artists need the attention seemed to the gist of it. As a Canadian, you’ll forgive me for giving this one a pass. As far as I’m concerned there aren’t enough lists like this one! [Blouin ARTINFO]
Catherine Opie discusses her new series of introspective, “formal” portraits on view at Regen Projects and her departure from MOCA. Lots of great stuff in here including this bit of galling info: Opie left MOCA when she learned that a day after she’d donated a portfolio to preserve a person’s job in Education, that person was let go. [Los Angeles Times]
International Art English gets its own feature in the UK. Many Triple Canopy readers may remember the term from last year—David Levine and Alix Rule coined the term in the journal last year after unleashing a computer program that analysed languages on an archive of e-flux press releases. Andy Beckett asks for their reflections on art speak once more for this article. [The Guardian]
Frieke Janssens’ eyeroll inducing photographs of smoking youngsters in period costumes have been brought to our attention thanks to AFC’s new intern Christina Capela. We’ve got nothing to say about this work, except to note that Nir Hod’s paintings depicting the like at Paul Kasmin were marginally better. Mysteriously, they too got a write up from Huffpo. We’re waiting for a third story to appear on the site so we can write up a trend piece. [Huffington Post]