From the category archives:

Opinion

Confronting Inequity: Do We Really Need a Make-A-Wish Foundation for Famous Artists?

by Whitney Kimball on March 28, 2013
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How much did Nick Cave’s subway ads cost, anyway?

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Brad Troemel On Parsing The Accidental Audience

by Whitney Kimball on March 21, 2013
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Is it really a misreading to mistake a photo of bacon in a hair straightener for a photo of bacon in a hair straightener?

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The Death of Bohemia, Brought to You By Allan Kaprow

by Corinna Kirsch on February 13, 2013
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Bushwick artists be warned: bohemia ended without you.

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Flamers: Schjeldahl Versus Saltz

by Corinna Kirsch on January 15, 2013
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This week, we get two critics’ opinions on MoMA’s latest painting show, “Inventing Abstraction: 1910-1925″. Is it a “splendid historical survey” (Schjeldahl) or “history written by the winners” (Saltz)?

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Flamers: The Lowman Debate

by Corinna Kirsch on January 2, 2013
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In this week’s round up of vitriol-filled art criticism, Karen Rosenberg kinda sorta reveals her true feelings about Ed Ruscha, while Andrew Russeth suggests Nate Lowman just quit. But does telling an artist to change careers ever have an effect? Lindsay Pollock might have the answer.

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$340m On a Christo Oil Barrel Sculpture is Too Much

by Paddy Johnson on November 27, 2012
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Time to get angry about another gross display of wealth by the art world, all at the expense of the poor. According to The Guardian, Christo has plans to make the world’s largest sculpture from empty oil drums in Abu Dhabi, and now the project has the support of the Sheikh Hamdan bin Zayed al-Nahyan, a representative of the crown prince, his elder brother. A site near Liwa oasis has been approved.

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Hands Up If You’re Tired of Auction News

by Paddy Johnson on November 20, 2012
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Rich people are spending their money.

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Highlights from the Artprice Contemporary Art Market Report

by Corinna Kirsch on October 10, 2012
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What happens to the wealthy is what happens to the rest of the art world. At least, that’s what Artprice’s annual contemporary art market report suggests. Every October, Artprice publishes The Artprice Annual Report, a whopping 140-page document about trends in the contemporary art market; they look at art auction records,then talk to dealers and anybody else managing multi-million-dollar art sales to come up with a sense of the health of the market as a whole. We disagree, knowing that what happens at the auction houses doesn’t trickle down to the rest of the art world; for all its flaws, though, we enjoy reading this thing.

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The Future Looks Grim: “Museums and the Pulse of the Future”

by Corinna Kirsch on July 19, 2012
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Museums are dealing with higher taxes and dried up federal funds, and the future doesn’t look much better. So says TrendsWatch 2012: Museums and the Pulse of the Future, a report just released by the American Association of Museums (AAM). It’s a good, important read for anyone interested in seeing how museums have been dealing with the economic downturn, and how they’ve been using technology to help buffer the financial strain. One thing is certain: museums are entering a new era.

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The Netflix of Art: A Bad Deal for Artists

by Corinna Kirsch on July 12, 2012
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Is TurningArt the newest force to be reckoned with in the online edition business? They seem to think so, and so do the tech content blogs that make a buck off of rewriting press releases. From CNN Money to TechCrunch, everyone’s calling their online art rental and sales program the Netflix of art. We’re not really sure how they plan on convincing America to open up their wallets, given that there’s not much consumer crossover between the poster and original art markets, but whatever. It’s not our money they’re losing. And they do have investors!

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