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alanna heiss

Tuesday Links: Make Your Own Boobs, Say Goodbye to Gawker, Think About “Post-Internet”

by Paddy Johnson and Michael Anthony Farley on August 23, 2016

Homemade BoobsHomemade Boobies

Posted by Beki Files on Friday, August 19, 2016

We can’t stop watching the above video of someone explaining how to make fake boobs.
Barry Schwabsky considers post-internet art (somewhat erroneously) as a “micro-trend” that won’t go away, and traces its influence, as well as the elusive notions of sincerity and reality, through last year’s New Museum Triennial, the related DIS-helmed Berlin Biennial, and Thomas Struth’s latest exhibition. It’s a really beautiful, thought-provoking piece of criticism that adds a lot of nuance to a discussion that’s thus far been characterized by so much internet-style hyperbole and value judgements. [The Nation]
Lovefone has been retrofitting historically-landmarked but functionally obsolete public telephone booths in London as cell phone repair stations. So smart. [Dezeen]
The PATH train’s Downtown-Midtown tubes are closed for repairs. The Port Authority is dealing with this issue with a shuttle bus… despite the fact that there are faster, more frequent MTA subway lines literally running directly underneath the busses. It’s a laughably inefficient and redundant use of taxpayer funds, one indicative of the lack of regional cooperation between transit agencies. [The Transport Politic]
Gawker’s last day of publication was yesterday. Lots of thoughts from its writers on its shuttering. Nick Denton, co-founder and publisher of Gawker, writes his final thoughts. It’s a sad but poignant burial. [Gawker]
Alex Balk, a former Gawker editor, describes the blog as, “stupid, loud, bullying and ill-informed, and most days it was the only honest thing you could read.” [The Awl]
“Gawker always said it was in the business of telling true stories”, writes Tom Scocca, in a devastating account of Gawker’s demise. “Here is one last true story: You live in a country where a billionaire can put a publication out of business. A billionaire can pick off an individual writer and leave that person penniless and without legal protection.” [Gawker]
Gawker had no editorial direction, but a sensibility. Gawker was barely recognizable year to year. Gawker has history of publishing sex tapes—according to former editor Jessica Cohen’s account, Peter Thiel has made Fred Durst seem like a real pussycat. [Gawker]
MoMA PS1’s Forty casts yet another nostalgic glance (following the institution’s Greater New York) toward the city’s grittier, more glamorous heyday of “alternative spaces”. Alanna Heiss (who founded PS1 back in the day) returns as curator, presenting a redux of many of the works featured in the space’s seminal 1970s exhibition Rooms. Ben Davis argues that these artists seem to have been selected based on how famous they’ve become in the intervening years, and that the work has lost its teeth as its context changed from post-industrial to polished. We haven’t seen the show yet, but it sounds annoying. [artnet News]
Raphael Olivier’s photos of vintage Soviet architecture in Pyongyang look like a weird, low-budget sci-fi movie. [Curbed]
This has to be the wildest “Beer With a Painter” in the history of Hyperallergic: that time Enrique Chagoya received death threats from the Tea Party, Christian fundamentalists destroyed his work with a crowbar, and a pastor invited him to paint Jesus for a church. [Hyperallergic]
Wow. A California court has ruled against restitution in the case of Nazi-looted paintings at The Norton Simon Museum. [Deutsche Welle]
Hrag Vartanian asks historian Karen Wilken what the legacy of Abstract Expresionism is in the Hyperallergic podcast focusing on the Women of Abstract Expressionism exhibition at the Denver Art Museum. “The idea that art is profoundly about self expression.” she replies. “Art is not about depicting or reporting what everyone can see. It is revealing something that is unseen and that is something that’s pretty fundamental. People don’t even talk about that anymore.” [Hyperallergic]

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Not an Alternative: “FORTY” at MoMA PS1

by Emily Colucci on July 13, 2016

Can alternative spaces and their anti-institutional goals ever be faithfully represented inside a museum? If MoMA PS1’s current exhibition FORTY is any indication, the answer is a definitive no.

What makes this realization even more awkward is that in this show, the alternative space and institution are one and the same. As its name suggests, FORTY honors the 40th anniversary of PS1 by looking back to its first exhibition Rooms. The show, like Rooms, is organized by Alanna Heiss who founded PS1 in 1976. The former alternative arts space was just one project launched under Heiss’ nonprofit Institute for Art and Urban Resources Inc.

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Rashaad Newsome’s Rap Joust Embarrasses Everybody

by Art Fag City on November 8, 2011

If Marlborough Gallery had a reputation to worry about, they would be busy doing a lot of damage control for last Wednesday's rap joust, directed by Rashaad Newsome. A real-life manifestation of POWHIDA's mock-douchebag performance a few months back, it was another masturbatory celebration of wealth that sidelined the performers and sincerely made everyone look like VIP douchebags.

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alanna heiss

Rashaad Newsome’s Rap Joust Embarrasses Everybody

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alanna heiss

Tuesday Links: Enter the Met Gala Time Vortex

Tuesday Links: Make Your Own Boobs, Say Goodbye to Gawker, Think About “Post-Internet”

Not an Alternative: “FORTY” at MoMA PS1

Rashaad Newsome’s Rap Joust Embarrasses Everybody

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