Steve Lambert, a finalist in this year’s ArtPrize competition says that if he wins, he will donate the money to the LGBT Fund of Grand Rapids. That’s potentially a lot of money. He’s been nominated in both the public vote, and by the jury. The top prize for each is worth $200,000. Currently, he’s up for the $20,000 Time-Based Juried Award and the $200,000 Juried Grand Prize. (He’s now out of the running for the public vote prize.)
What a perfect union between unicorns and math. You’ll find this charming chart over on Wikigifs, a feed for all the GIFs on Wikipedia. This type of feed allows for the laziest type of surfing, and surprises like this “LineareMatrixoperation R2 Achsenspiegelung.” Now, why the heck were unicorns chosen to demonstrate rotation around an axis? Wikigifs doesn’t link you back to the Wikipedia entry pertaining to these GIFs, so if you’re a lazy surfer you’ll never find out the answer.
With Monopolart, Jen Catron and Paul Outlaw have outdone themselves again. Tonight we’ll be taking the air out of the high-end art world by yelling from the critics corner. You should also come for the free champagne from the Jeff Koons/Don Perignon/Jen and Paul Collaboration and Paul McCarthy ketchup sandwiches.
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.
The power of portable video can not be understated. At the time that the first Portapack, a small, handheld battery-powered video camera, was released in 1967, most people had only three major commercial networks, and early cable was confined to major cities. Getting on TV was only for actors and newsmen, companies decided what the public would view, and nobody said “fuck.” So for early video collectives like the Videofreex, the consumer camera was a tool for complete social upheaval—reflected in names like Raindance’s publication “Radical Software” and the “video revolution.”