From the category archives:

Opinion

The Fall of Max Protetch

by The AFC Staff on June 8, 2012
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Last night’s New Curators, New Ideas IV at Meulensteen, formerly Max Protetch, reminded us how little remains of the respected gallery Protetch sold just under two years ago. It’s hard to imagine Protetch ever doing something so tacky as stationing two gallerinas outside the gallery with iPads and a guest list, but that’s what we witnessed last night. Surely, this kind of exclusivity can’t benefit a show meant to give exposure to new talent.

We’ll take a look at the show in the coming months, but in the meantime, let’s take a look at some of the changes we’ve seen over at Meulensteen. Almost none of them are good.

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Trend Alert: Yayoi Kusama is Crazy

by Corinna Kirsch on May 25, 2012
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Yayoi Kusama is having one busy year. Her major retrospective at the Tate closes June 5th and will travel to the Whitney. Then there’s her collaboration with Louis Vuitton, which was announced just this week. Everything is on the up-and-up for the 83-year-old artist, assuming she doesn’t care about the amount of recent press devoted to her craziness. With Kusama’s exhibitions and fashion line, more people are coming out of the woodwork to discuss her notoriety as a kook—which includes living in a psychiatric ward across the street from her studio.

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Creepster Alert! College Art Association Sells Members’ Personal Information

by Corinna Kirsch on May 18, 2012
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It’s uncommon for non-profits to sell private information about their donors and other members, but the College Art Association (CAA) doesn’t wag like everyone else: the organization sells its members’ home addresses to direct mail companies. That’s not totally okay with us.

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New Barnes Building Opens, Why People are Upset

by Whitney Kimball on May 16, 2012
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After years of controversy and legal battles, the Philadelphia-based Barnes Collection has moved. Its initiator, pharmaceuticals mogul Albert C. Barnes, who died in 1951, clearly stipulated in his will that none of the work should leave its salon-style installation in Lower Merion, Pennsylvania. Barnes left behind one of the most significant late 19th and early 20th century art collections in the world; by 2004, the Foundation reported severe financial and maintenance problems and planned its move to the new building in downtown Philadelphia, next to the Rodin Museum. A judge ordered that the arrangement be replicated in the new building, and, according to Justin Davidson and Jerry Saltz, the new museum actually allows visitors to see the work, which was difficult in the dark and crowded old house. “Owners are temporary caretakers,” Jerry Saltz points out– so if we’re much better able to view a few thousand artworks, including 181 Renoirs, 69 Cézannes, 59 Matisses, and 44 Picassos, and it’s still hung the same, then why worry about the demands of a dead rich guy?

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Is Self-Expression Possible on Pinterest?

by Whitney Kimball on May 14, 2012
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In the six months since Pinterest became one of 10 largest social network sites, we’ve heard no end to its praises. It’s been sold to us as a venue for self-expression, similar to Tumblr — but with auto-filled boards like “Products I Love,” “My Style,” and “For the Home,” it’s far less shy about its use of love-only Facebook-derivitive lifestyle branding. Unless you’re working against it, can such a place even be a venue for self-expression?

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Hennessy Youngman Goes Direct To VHS

by Will Brand on May 10, 2012
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One line at the bottom of a press release caught my eye: “Jayson Scott Musson’s work is now available through EAI’s distribution service. For more information, please click here.” If you ever wanted the YouTube star on U-Matic or Beta, this is your chance.

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Additional Person Overrates Werner Herzog

by Paddy Johnson on April 13, 2012
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Hyperallergic's Peter Dobey has decided the entire Biennial is held together by a single work of art, Werner Herzog's Hearsay of the Soul. To prove this thesis, he blows up a quote from some wall text, applies it to a myriad of art cliches, and expects that this will all somehow support the idea that the Biennial is about different states of mind. I'm not convinced.

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