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has written 14 article(s) for AFC.

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Whitney Kimball and Will Brand

You, Too, Can Have Mark Rothko’s Bloody Socks

by Whitney Kimball and Will Brand on December 7, 2013
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We heard it at last night’s Hyperallergic party, and it’s true! Now diehard fans of artist tragedy have their own T-shirt, of sorts.

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People Controlling People: Art Review’s Power 100 List Is Out

by Whitney Kimball and Will Brand on October 24, 2013
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Today, Art Review releases its annual Power 100 list, a ranked list of the contemporary art world’s figures with the most “power,” a word defined by Merriam-Webster’s dictionary as “the ability or right to control people or things.”

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Madonna’s “Live-Curating” Marks All-Time Cultural Low

by Whitney Kimball and Will Brand on October 8, 2013
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What’s wrong with curating today? Does it too heavily favor men? Does it overlook emerging artists in favor of an unassailable academic canon? Does it act too often as a vehicle for the market, or the curator’s ego?

No. What is wrong with curating today is that it does not involve Twitter and Madonna.

At 4:30 today, that will change.

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How Do People Feel About the Gramsci Monument?

by Whitney Kimball and Will Brand on August 16, 2013
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“Another monument to his monumental ego,” Ken Johnson recently labelled Thomas Hirschhorn’s Gramsci Monument, a big wooden community center which looks like a set from Peter Pan, and occupies the Bronx’s Forest Housing Projects through September. Rather than a towering chrome figurehead, the monument is an intellectual playground; a drastic improvement to the quality of life at Forest; and an overwhelmingly loving event.

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Thursday Links: The Venice Round-Up

by Whitney Kimball and Will Brand on May 30, 2013
  • For $2000/night, you can sleep over in Judd’s five-story Soho loft, immersing yourself more deeply in art than ever before. [Curbed] UPDATE: Just kidding. [Gallerist]
  • Following yesterday’s takedown of bikes, and sharing, the Observer kicks off its new column “Isn’t That Rich?,”  a column on uptown social life. This week’s edition: chauffeur-nannies, authored by Mr. Burns: “The New York Post recently wrote about parents who were passing off their classroom volunteer duties onto nannies, much to the dismay of their private schools, or rather, of the other moms, who didn’t fancy selling snickerdoodles alongside hired help at bake sales.” Seriously, this is the best thing I’ve read all week. [Observer]
  • We don’t know how we failed to link this yet, but William Powhida’s new show does a solid job of mocking “conceptually-based” market-tailored art strategies. Between the shipping crate, the neon, the digital color field, he’s basically got the Frieze bases covered. The show’s in LA, but the PDF says it all. [MAN, williampowhida]
  • Kriston Capps at Washington City Paper has an enjoyably thorough report on Hirshhorn Director Richard Koshalek’s resignation. The bigger question: is Washington willing to support large-scale, unabashedly contemporary projects on the National Mall? [City Paper]
  • In disputes over fair wages, British museum workers stage walkouts from the National Gallery, Tate Liverpool, Stonehenge, and several more. [BBC]
  • Carol Vogel’s profile on Massimiliano Gioni tells us little about the Biennale, but once again confirms that, yes, one truly can have it all. [NY Times]
  • The show is based on the “Encyclopedic Palace,” a Futurist model of a 136 foot-tall skyscraper intended to contain all of the knowledge of the world. It reflects the scope of the art world. Gioni “hop[es] every artist in the show comes across as an outsider.” [Sotheby’s]
  • HuffPo describes Ai Weiwei’s “Sacred”, a solo show collateral to the Biennale, and its six dioramas of his treatment in prison, and perfect reconstructions of his cell.  He’s also showing “Straight,” 150 tons of straightened rebar scrounged from the ruins of Chinese schools which collapsed in the 2008 Sichuan earthquake and killed over 5,000 children. [HuffPo]
  • Nationalgalerie Curator Udo Kittelmann isn’t happy with the choice, feeling that Ai Weiwei will overshadow the others. [TAN]
  • Charlotte Higgins observes that Weiwei’s dioramas in coffin-like black boxes, in a church, draw comparisons to self-martyrdom. Curators rush to his defense. [Guardian]
  • The Brits (at least one of them) take more of a shine to Jeremy Deller’s very British pavilion. [Guardian]
  • Twitter’s raving about Sarah Sze’s pavilion, which looks from here like blurry sticks. You just gotta be there. [museumnerd, Daily Beast]
  • Otto Muehl has died. [NY Times]
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The Independent Perfects the Art Übermarket

by Whitney Kimball and Will Brand on March 8, 2013
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In 2010, forty of New York’s up-and-comer galleries sailed downstream to avoid the Armory’s stench of death. Maybe it was the massive crowds or the lack of sunlight that made Thursday night’s opening so grim, but, four iterations later, the Independent has unmistakably assumed the mantle of young establishment.

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Art Fairs: The View From The Top

by Whitney Kimball and Will Brand on December 10, 2012
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What a turd. Reporting from Art Basel Miami Beach, New York Times writer Patricia Cohen gets the exclusively super-rich take on class war. Unsuprisingly, they don’t get what the big deal is.

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