- Yesterday was the 18th annual Trans Day of Remembrance. Today, Sabine Heinlein considers the state of trans artists working now—namely, there’s unprecedented acceptance and demand for trans visibility in the arts, even as American politics swing radically to the Right. [The Guardian]
- Long, weird read: Kenny Schachter on the surreal state of Manhattan’s art market, where dealers/collectors’ inscrutable dances and financial mechanisms are set against a backdrop of political uncertainty and constant protests in the street. [artnet News]
- Erick Antonio Benitez: Esta Tierra es Tu Tierra just closed at Current Gallery in Baltimore. It was a really great show about the Mexico/US border. If I had seen it before the closing reception, I totally would’ve reviewed it. Thankfully, BmoreArt beat us to it. [BmoreArt]
- New editions of William Gibson’s most iconic literary works will feature cover art by British digital artist Daniel Brown. Brown used fractal mathematics to abstract architectural photography into an Escher-esque dystopia. I’m not sure I like these. The material’s very dear to my heart, but the execution just feels underwhelming. [Dezeen]
- Extrapolating from the popular phrase “arts ecosystem,” Taryn Wiens argues that we should care more about protecting the art world’s “biodiversity.” Namely, there isn’t an existent art space that functions quite like Seattle’s recently-defunct, one-room residency/gallery Suyama, and that makes its closure an important loss. [Temporary Arts Review]
- The strange, strange story of how a pension-fund-backed luxury condominium tower’s glare upon an art museum led the city of Dallas to the brink of bankruptcy. [The New York Times]
There’s something a little humorous about a 3D architectural rendering of a PC computer. It’s not going to require a team of builders to install this thing. Still, the computer does have an institutional quality to it, so the treatment makes sense. Also, it just looks good, aesthetically.
As a side note, I found this via Tom Moody’s blog, who posted the image with a hat tip to superamiga. I did a reverse image search for the GIF and google brought up no results. Seeing as how I actually found the image online, this begs the question: When did google start sucking so much? Are they like everything else now, where you have to pay to be seen at all?
“Creation is divine work,” proclaimed Genesis BREYER P-ORRIDGE this past Wednesday. God’s first acts were to create the world, and Genesis, an adopted name gestures to this history. H/er words served to introduce a lecture prepared for the seminar class at AICAD and represented the event programming for AFC’s curated exhibition “Strange Genitals”. The talk was something of a divine experience.
For many of us feminists, the election of Donald Trump might just be the single worst event we’ve collectively experienced. This statement needs no litany of examples to back it up.
Of course, many people—myself included—have been glued to social media, religiously reading political commentary, the news, and critical theory to help process how royally fucked the world is. But honestly, the only thing that I have found to be remotely comforting is feminist punk.
Here’s my suggested playlist, paired with a stage of grieving correlated to each song.
Back in March Transfer held a group screening for NarGIFsus, a show curated by Carla Gannis that invited more than 60 artists to present selfie-self portraits. We need a bit of levity, so we’re highlighting the work of one artist in that show—Patrick Lichty. For this project Lichty made a self portrait of his digital self. The figure is his Second Life avatar, Man Michinaga, surrounded by cats, Confused Travolta (his totem at the time), on a background of flying saucer invasions. When he sent us the animated GIF he offered the following explanation. “I live in Dubai, so my life IS science fiction.”
Now that the country has elected a threatening Wizard of Oz figure for president, any art that takes aim at the myth of American exceptionalism feels pretty relevant. The democratic dream created in 1787 looks a lot like a nightmare in 2016. And with the news of White House staff and potential Cabinet appointments reading like a list of supervillains, it’s refreshing when art can articulate a pointed skepticism of America’s promise.
Alex Da Corte’s A Man Full Of Trouble at Maccarone provides some of that much-needed critique. The work here launches a timely reassessment of America through a combination of its storied colonial past and its kitsch-filled, worn out present.
Shockingly, the below GIFs are the only vaguely NSFW GIFs from the groundbreaking oeuvre of Genesis Breyer P-Orridge that I could find. S/he will be speaking tonight as part of F.A.G.’s Strange Genitals exhibition, at the AICAD Seminar Gallery in 20 Jay Street (suite M10).