Jason Foumberg went to the College Art Association’s annual conference and found nuggets of social activism. And a surprising amount of Laurie Anderson. [Artforum]
The Samsung Galaxy 5 will drop in April. This special phone will include a fingerprint sensor for security and shopping. Guessing the “shopping” part is meant to make this gadget sound appealing. [AP]
Wanted: Non-profit in need of 250,000 transparencies and slides documenting really important art and artists. Truck not provided. [The New York Times]
“Stuff on Stuff on Stuff: The Game” lets you “stack stuff on stuff.” It’s like Tetris, or the lesser-known office favorite Trash Panic. And it’s free and cross-platform, so everyone can play. [Chris Collins]
N+1’s MFA vs N.Y.C. gets a review in the Times. In this case, MFA students are writers either slogging away on a novel so they can secure a cushy tenure track position at a university, or trying to make a name for themselves in the city. Lots of stuff here similar to visual arts. (And Paper Monument gets a nod!) [The New York Times]
Helen Hughes discusses the ugly business of Transfield, a major sponsor of the Sydney Biennial, and a private corporation that handles the processing and care of Australian prisoners. They break all kinds of international human rights laws and national obligations as laid out in the 1951 Refugee Convention, so calls for protest have been made. But will a protest of their sponsorship have any effect at all? Hughes argues that if the protest is aimed at both government policy and its privatization of these services, plus leverages the grace of expression of arts professionals, they might get somewhere. [Frieze]
Today’s $88,000 painting for sale on Craigslist. [Craigslist]
Cait Munro chats with two of the 2014 Whitney Biennial curators, Anthony Elms and Michelle Grabner, about what to expect when the show opens next week. Each curator has a floor to themselves, and Grabner chose to include more artists than the other two curators. So we’ll see fewer work from her artists. [Artnet]
Kevin Lau Chun-to, the recently dismissed editor-in-chief of what many regard to be the remaining independent newspaper in China, Ming Pao, was attacked with a knife this morning while walking from his car. [The New York Times]
Happy MLK Day, readers! We’re bringing you the best of the web this morning, but expect a lighter posting schedule due to the holiday.
Holland Cotter rails against an art world he sees affected at every level by money. Art, galleries, media are all identified as suffering.
Conservative art can encourage conservative criticism. We’re seeing a revival — some would say a disinterment — of a describe-the-strokes style of writing popular in the formalist 1950s and again in the 1970s: basically, glorified advertising copy. Evaluative approaches that developed in the 1980s and 1990s, based on the assumption that art inevitably comments on the social and political realities that produce it, tend to be met with disparagement now, in part because they’re often couched in academic jargon, which has become yet another form of sales-speak.
The antidote, at least to some of the problems he lays out, are outlets like Art F City and Hyperallergic. [The New York Times]
With the Sochi Winter Olympics soon approaching (and with an estimated $50 billion price tag) Malcolm Harris investigates how cities can end up taking on so much financial and political risk. The answers are fairly simple: guns and insurance. [Al Jazeera America]
Uproar over Jezebel’s search and publishing of untouched Lena Dunham photos finally makes the New York Times. Dunham doesn’t see how “photoshop or no” why featuring a woman whose body doesn’t look like coatrack wouldn’t be a good thing. [The New York Times]
The Guardian instigates a curious poll asking whether Damien Hirst will be remembered in 50 years. Ah, Britain, where everyone has an opinion on art. [Comment Is Free]
Courtney Love is in court for “twibel,” a combination of Twitter and libel (and possibly the most annoying new word of the year so far). This is the first time a libel case involving Twitter has been presented before a jury. [On the Media]
Making the rounds on Facebook: a Tumblr about all the mirrors sold on Craigslist. [Craigslist Mirrors]
Matthew Barney’s latest film River of Fundament will premiere in February at BAM. Tickets are already on sale. [BAM]
Marina Abramovic’s Kickstarter is getting an update. Now donors can get even more swag for supporting her project, like a soup dinner with Abramovic and 10 other lucky donors. Because, well, soup nazi? [Kickstarter via Twitter]
Hyperallergic Senior Editor Jillian Steinhauer admits that “fewer arts reviews might not be so bad”. Um, what? [Hyperallergic]
Hugo Schwyzer, the Internet’s most well-known male-feminist blogger—who happens to believe that jizzing on a woman’s face is about men’s “longing for validation”—went nuts over Twitter on Friday, admitting he’s actually a bad feminist. The Daily Beast interviewed him after this weekend’s hospitalization. [The Daily Beast, Tiger Beatdown]
Perhaps triggered by the Schwyzer fiasco, as well as the renewed debate over the “opt-out revolution”, #solidarityisforwhitewomen took off over Twitter this weekend. [Storify]
Gizmodo thinks that scientists can prove that art is bad, based on a survey of students who ended up disliking Thomas Kinkade after being exposed to his paintings over time. [Gizmodo Australia]
The Keyser Soze of the Edward Snowden story. Dedicate a bit of time to this one, as the article’s 10 pages long. [The New York Times Magazine]
Performa has announced its commissions for 2013. Artforum has the list. [Artforum]
This week’s dumbest art project award goes to photographer Keisuki Jinushi, who’s been dressing his hand up like that of a woman and then shooting himself in couple-y poses. His “girlfriend” is feeding him, his “girlfriend” is caressing his face. All this gets shared on Instagram. [The Atlantic]
Then you know it’s 2013 when there’s a Richard Artschwager contest on Instagram. [Artinfo]
How do you build a large contemporary art collection? Here’s one successful method: send letters to well-known artists and swap “totally insane looking” drawings from your autistic son for their work. That ploy got the attention of This American Life; this week, the radio program aired an episode on this sketchy dude. At ARTINFO, Rosalia Jovanovic picks up where the TAL story leaves off, and speaks to Fredericks & Freiser artist Baker Overstreet about his involvement with the London [This American Life, ARTINFO]
Frieze is on Craigslist. We found an ad scouting out talented magicians, bartenders, and actors for artist Liz Glynn’s performance at the fair. [Craigslist]
Chicago has its first 3D printing facility. Available printers include the personal-use UP Mini and MakerBot, as well as the professional-grade EOS Formiga P110. The Duchamp toilets pictured in this article were made with the home printers. [New City]
The Barnes Foundation is raising ticket prices from 18 to 22 dollars. This isn’t shocking news, but their rationale is bizarre: to prevent visitors from touching the art. [Hyperallergic]
President Obama’s budget proposal for this coming year would boost arts funding by 10%. [Los Angeles Times]
Actress Tilda Swinton scrunched herself into a glass box at MoMA for all to see. [The Atlantic Wire]
The Chicago Headline Club announced finalists for the Peter Lisagor Awards. Now in its 36th year, the award recognizes outstanding journalism produced over the previous year. No surprise, Art F City contributor Jason Foumberg makes the cut in the “Arts Reporting and Criticism” category. [Headline Club]
Klaus Biesenbach tweeted pictures from the future home of MoMA PS1’s second-ever Volkswagen Dome in the Rockaways. So far, there’s a wooden deck. [Twitter]
Google, after announcing it will pull the plug on Google Reader, unveiled a new, Evernote-inspired app. Nice try, Google, but you can’t win your way back into our blogger hearts so easily. [Mashable]
“OkCupid Date Generator Needed” happened. [Craigslist]
The Met said “Let there be art on Monday.” Beginning July 1, the museum will be open seven days a week. Hurray! [Art Observed]
KYUR8 transformed our “Etsy’s Horse Art Trends” post into a zine. [KYUR8]
Looking into the future, we’re wondering who’s going to Open Engagement this May? It’s a conference all about social practice and it looks great. [Open Engagement]
Art Basel gets a new corporate sponsor: Davidoff. In return for sponsorship, the cigar manufacturer will create two outdoor cigar lounges “to offer fair visitors a relaxed venue for discussion, reflection and enjoyment of a fine cigar.” Grossss. I bet the only people in those lounges will be aging dealers who think they’re really cool. And younger hipsters who want to be like Alec Baldwin. [The Sacramento Bee]
Even The Atlantic has hopped aboard the “New Aesthetic” train. I don’t like the vagueness of the term, but I especially don’t like how Ian Bogost constantly compares the New Aesthetic with Futurism and its talk about violence and war. I don’t know many artists interested in how the internet is like a battlefield. [The Atlantic]
Book publisher Project Webster takes sleaze and greed to a new level: they’ve created a line of books with saucy titles like Celebrities with Big Dicks and Doomsday Cults: Getting Ready for the Rapture composed almost entirely from Wikipedia articles. That’s a way to avoid paying writers! [Gawker]
Occupy Museums and Occupy Wall Street will team up with the New York City & Vicinity District Council of Carpenters to protest the Frieze Art Fair on Randall’s Island. [The Art Newspaper]
Editor’s note: IMG MGMT is an image based essay series by artists. Today’s artist, Sara Ludy is a Los Angeles based artist and musician. She is a member of Computers Club and Tremblexy. This essay is purely image based.
This is going to be a strange email, both for me and for you. I have no idea how you’ll respond to me writing you out of the blue like this. So let me start off by assuring you that I am not a creep, a crazy person, or an internet troll.
Ron, I have been following your work for a long time.