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Ann Hirsch

Let the Bidding Begin! Art F City Presents “The Writers’ Auction” on Paddle8

by Paddy Johnson on October 9, 2014

Today we announce the launch of “The Writers’ Auction,” our fall benefit auction running on Paddle8 through October 23, 2014. The money raised will be used to take our two part-time writers on full-time—making it the most important auction we’ve launched to date. This means more resources to edit artist essays, in-depth interviews and reviews, and daily news coverage. This is flagship AFC content, and it’s the best art writing you’ll find anywhere on the web.

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AFC’s Critically-Acclaimed Summer Reading List Returns

by Paddy Johnson Whitney Kimball and Corinna Kirsch on June 26, 2014

It’s almost July, which means it’s time for our critically-acclaimed summer reading list, a list of books that, quite simply, we critics acclaim. Last summer, we gave you a list of novels artists love, just in time for your beach reading. This time around, we’ve provided our own mix, ranging from fiction on chatrooms and psychosis, and histories on New York and Elizabethan London.

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AFC’s 2014 Guide to Bushwick Open Studios

by Paddy Johnson Whitney Kimball and Corinna Kirsch on May 27, 2014

Let’s be honest; if you’ve been going to Bushwick Open Studios for the last couple of years, you’ve probably got some reservations about the event. By day, it’s a zoo of eateries and portable vintage clothing shops smattered with bits of performance art and artists listless in their studios; by night, it’s an enormous frat party. Slowly, but surely, the BOS listing website is starting to resemble the DUMBO Arts Festival open studios; lots of artists, most of them pursuing art as a hobby.

We know, because we’ve spent the last several days combing the website for studios we think worthy of visiting this weekend, so you don’t have to. Below is a list of studios we recommend. And if you want our unsolicited advice: get the job done as quick as you can, lest you get swallowed by a roaming frat party swarm.

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The Digital Art World’s (Secret) Feminism

by Corinna Kirsch on October 4, 2013

The major issues facing feminism and digital art go far beyond a numbers game. Seeking a male-female ratio in exhibitions is just one part of an overarching discussion that’s centered around how to present femininity within digital art and how to carve out a space online and IRL, in-print and on blogs, about feminism’s future. In an attempt to move the conversation off Facebook, I surveyed dozens of young artists, curators, and writers who’re actively engaged with the digital art world, and asked them about the major issues facing feminism in the digital art world today. From private Facebook groups to list-servs, there’s plenty of talk about feminism and digital art online, but you might not know about it; you’d have to be privy to these virtual salons.

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Flux Factory: Not-So-Silent Open Call

by Paddy Johnson on October 16, 2012

Is your art a little too weird for the establishment? Do you like to wear a few too many kinds of plaid at once? Has your mother ever expressed worry about your future?

If you’ve said “yes” to any of these questions, it’s time to submit your work to Flux Factory’s open call for submissions.

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An Informal Survey of Swag: The Sociology of Hip Hop In the Micro-World of Emerging Net Art

by Jennifer Chan on September 14, 2012

Cultural studies has established that suburban white kids love hip hop in a complex manner; heaps has been written on aspiration, colorblindedness, misogynism, emulation, and subordination. But just what makes hip hop so appealing to net artists? Instead of passing off any attempt to indulge in hip hop as a 1:1 relationship between appropriation and mockery, I’m interested in looking at how different artists incorporate hip hop in their artwork to talk about themselves.

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Monday Links: Ai Weiwei’s Latest Project Disappoints, Saudi Contemporary Art Impresses the Trumps

by Paddy Johnson and Michael Anthony Farley on May 22, 2017

Trump likes an Abdullah Al-Othman photograph of a former Islamic shelter for widows and divorced women wrapped in tin foil (all housing should be gilded?). This is one of the precious few details from Trump’s tour of the Saudi contemporary art scene, one of the lesser discussed sideshows from the circus that is his middle east visit. [The Art Newspaper]
An AFC alumn bring us a surprisingly fascinating read: Whatever happened to the Gilded Age art stars? They made fortunes during the first art market boom over a century ago, but were largely forgotten in the art history canon, having been overshadowed by their broke-ass impressionist contemporaries. [artnet News]
Following last week’s deadly crash in Times Square—in which Richard Rojas seemingly deliberately ran over dozens of pedestrians—and numerous similar ISIS attacks, Alissa Walker wonders why the city doesn’t just fully close Times Square to cars. It turns out that would be great, but difficult with the existing traffic patterns in Midtown. Suggestions include a Barcelona-style “superblock” configuration or London-style congestion pricing. I say just ban the damned things from Manhattan entirely. [Curbed]
Bjork has launched a virtual reality art exhibition at The Magic Box at The Reef in Los Angeles. She describes the various VR experiences as another way to “reach intimacy” with her listeners. [Variety]
This is really cool. The Chattahoochee Valley Art Association converted a small town Georgia jail into an art museum in the 1970s. It’s still in operation (as a museum, not jail) today. [Ledger-Enquirer]
I wish so much of Ai Wei Wei’s art wasn’t straight up terrible. 175 lego portraits of activists and free speech advocates sounds very contrived. It will launch at the Hirshhorn in June—I’m not excited about this. [The New York Times]
Turmoil at the Brooklyn Rail. Late last week the publication announced that its board of directors, “day-to-day senior staff and six additional full- and part-time staff members” would part ways. Now, Phong Bui, the publication’s publisher is saying that he has replaced the board and enlarged his staff. Really? That’s a lot of change in a week. [artnet News]
Renzo Piano (architect of The Whitney’s new digs) designs the best exhibition spaces. Here he’s hidden a gallery in the landscape of a French vineyard. Perhaps a less obtrusive exterior than many of his other projects? [Dezeen]
According to this report, there’s plenty to see in Washington Galleries this month. Arte Povera, minimalism, representation and lots of artist names we haven’t heard before. It might be time to make a trip. [The Washington Post]
Liz Hirsch looks at seemingly unrelated art world stories—from the unexpected closure of Andrea Rosen to the digitization of museum collections and the formation of the Congolese Plantation Workers Art League—and makes the compelling argument that Trump’s presidency and the increasing concentration of capital and power are changing the game. Even as geopolitics become more nationalistic, culture is globalizing and institutions and artists will find new networks to distribute ideas and information. [ARTnews]

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Tuesday Links: The End of the World as Routed Through an Aaliyah Video

by Paddy Johnson and Michael Anthony Farley on June 14, 2016

Cécile B Evans, “What the Heart Wants” at the Berlin Biennale

In this podcast, Darren Walker of the Ford Foundation discusses keeping artists in New York and the city’s affordability crisis. Confession: I haven’t heard the whole piece, but apparently the foundation is shifting its focus to inequality. [WNYC]

Jason Farago is not a fan of the DIS-curated Berlin Biennale. It’s too sarcastic, it’s offensively aloof in the context of unfolding humanitarian crisis, the organizers seem to have given up faith in the goodness of art in favor of courting LOLs—these all sound like valid criticisms. We haven’t seen the Biennale yet, but it seems as if DIS was more concerned with keeping the curation “on brand” than making sure works didn’t get drowned out in a sea of normcore sameness. Which is a shame, because DIS’s politics and cleverness beyond surface could’ve really shown through with a project on this scale. Still, Farago notes highlights. On Cécile B Evans’ video installation: “Evans imagines the end of the world as routed through an Aaliyah video, in which love itself has been commoditised, and slickness is no escape from psychological or ecological meltdown.” [The Guardian]

Art Basel’s Unlimited section—where work that’s too big for traditional galleries is presented—has a record breaking 88 massive pieces on view this year. It’s curated by Gianni Jetzer of the Hirschorn Museum, and a lot of the work looks pretty boring but very big. A notable exception, Hans Op de Beeck’s concrete “The Collector’s House” is so cool I would live in this installation. [Artsy]

Liste charges a fee to galleries that present work by artists who are more than 40 years old. Its focus remains on youth. Is it any good this year? Anything remarkable about the fair? Impossible to tell from Nate Freeman’s report, which mostly just says it’s retained its youthful spirit. [ARTnews]

Ah, the convoluted web of art, real estate, and bankruptcy. Ace Gallery in Los Angeles is in serious financial straits, paying massive rent on a building that’s become central to their brand identity. But I’m not sure real estate alone is to blame for Ace’s dilemma—friends who have worked with Ace tell me it’s a mess across the board, from rumors about attempting to sell work it didn’t technically own to last-minute pull-outs from art fairs. Ace sounds like it’s been poorly managed on many fronts. [The Art Newspaper]

¡Escandalo! The Clark Art Institute has loaned 28 paintings from the Prado Museum—including work from Titian, Tintoretto, Guercino, Guido Reni, and Peter Paul Rubens— for an exhibition about art the Spanish royal family had to hide from the Catholic Church because it was too sexy. The exhibition is called Splendor, Myth, Vision, (really? That sounds like a New Age self-help book, not an exhibition about secret sexy paintings) and runs through October. [Observer]

Kaleidoscopic GIFs by Anna Taberko. [Colossal]

Bret McCabe reviews Hasan Elahi’s latest show and I really want to see it. Elahi obsessively documents his movements, meals, and minutia as an absurdist critique of the surveillance state. The truly ironic thing about his work, though, is that it actually discloses less than most people’s social media presences. [BmoreArt]

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Tuesday Links: Alphabetization™

by Michael Anthony Farley Corinna Kirsch Rea McNamara on August 11, 2015

Image Credit: thenextweb.com

How to be a DIY cyborg, from 2013. [Slate]
Gagosian Gallery is now representing the estate of Nam June Paik. The representation was initiated by its Hong Kong gallery staff, and will coincide with a fall exhibition there focusing on his later works. The move is obviously a huge blow to James Cohan Gallery, who originally represented the video art pioneer. [Art Newspaper]
On the Alphabetization of Google from a venture capitalist: “The way I see it, Google is the cash cow that finances all the big bets Larry and Sergey are making inside Alphabet…For $445bn, you get $70bn of cash, Google, which does $70bn of revenue and produces $20bn of operating cash flow (probably more now that is it not going to burdened by all of these other investments), and all of these big bets, including Google Ventures and Google Capital, which are about the biggest investors in the VC sector right now.” [AVC]
A newly-released security camera tape might hold clues to the case of the Isabella Stewart Gardner Museum heist, the largest art theft in American history. In 1990, a security guard let men dressed as police officers into the museum, who then bound him and his colleague in duct tape and made off with $500 million in paintings by the likes of Vermeer and Rembrandt. Sadly, many of artworks were cut from their frames during the heist—damaging them irreparably. [Live Science]
How on earth can you publish a discussion on why typing “haha” is for the olds and “hehehe” and “heh” are for the youngs, and without mention of the biggest “heh”-types of all, Beavis and Butthead? [The New Yorker]
For those rueful about start-up culture’s legacy of inflated fake job-titles, this etymological history of the term “rock star” reveals how the downward spiral began with boomer rock stars becoming corporate shills on the 1980s comeback concert circuit and then ended with the 28K-earning social-media rock star. [New York Times Magazine]
Amy Goodman interviewed Anne Pasternak and Nato Thompson, chief curator of Creative Time, about the organization’s democracy-centric summit at the Venice Biennale. [Democracy Now!]
There’s been a surge of censorship in the UK. Art exhibitions and theatrical productions that could strain ethnic tensions have been repeatedly cancelled or relocated due to police concerns that they could incite violence. [The Guardian]
Kanye West’s new adidas sneaker won’t be released until August 22, but here’s a list of all the shops in the entire human world that carry it. It also looks like a goth grandma knitted a shoe off a plumbing pipe. [HUH.]
New trend on YouTube: creating frames for the TV show you uploaded. Here’s Garfield and Friends, as seen within a Garfield-theme frame. [YouTube]
Venice Biennale 2015 Artist Trading Cards. Collect them all! [Biennial Project]
Melissa Chiu, the director of the Smithsonian’s Hirschhorn Museum, has come under fire for igniting a seemingly one-sided N.Y./D.C. rivalry. Offenses include appointing New York-based Gianni Jetzer as the museum’s curator at large and throwing the museum’s 40th anniversary party in Manhattan, instead of the District. [Washington City Paper]
Still need a vacay, people with money to spare? New York nonprofit Art in General is accepting slots for a $2,500 tour of Detroit in October. Price includes hotel, meals, but no airfare. [Art in General]

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Ann Hirsch

Flux Factory: Not-So-Silent Open Call

An Informal Survey of Swag: The Sociology of Hip Hop In the Micro-World of Emerging Net Art

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