Post image for Steve Lambert Pledges to Donate 100% of Possible ArtPrize Winnings to the LGBT Fund

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.)

Post image for W.A.G.E. Establishes Minimum Payment Policies for Artists

What you should be getting paid, in real numbers.

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

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.

Post image for Recommended Shows: Robert Gober at MoMA and Cartoons at the SculptureCenter

Decades after their making, Gober’s room-size installations can still fill viewers with pangs of rage. At the SculptureCenter, Camille Henrot and Ruba Katrib have put together a drippy, rubbery, slithery show themed around silliness.

Post image for Their Own Private Lanesville: The Videofreex on a Decade of Pirate TV in the Catskills

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.”