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kaws

Monday Links: Trump’s Latest Offenses Too Terrible To Fit In Witty Headline

by Michael Anthony Farley on January 30, 2017

Stealing this idea from the amazing Sarah Glidden: the ACLU is challenging DT’s #muslimban. Donate $50 or more, email me the receipt and address at emilyflake AT mac DOT com and I will send you a drawing. Or a painting! Or a fucking Play Doh sculpture, let’s just get this done. My heart is barfing in my chest right now.

A photo posted by Emily Flake (@eflakeagogo) on Jan 28, 2017 at 11:51am PST

What the actual fuck, America? Whenever I think Donald Trump and the Republicans couldn’t possibly get any worse, they pull some even crazier shit like this insane immigrant ban. It’s been surreal watching the American news from a distance, like some terrible disaster movie, but really inspiring to scroll through Instagram and see 7/10 of my friends’ posts be of protests at airports. [Instagram]
Related: the Metropolitan Police Department still hasn’t released a list of what weapons were used against inauguration protesters. There are numerous reports of militarized riot police using chemical agents and other crowd-suppression devices (and some crazy videos). [City Paper]
Artists, filmmakers, and cultural institutions are totally confused and/or outraged by Trump’s draconian visa ban. In the arts, the travel restrictions mean curators can no longer collaborate internationally, actors and directors are unable to attend screenings, awards shows, or performances, and some artists are “trapped” in the US. This is so, so stupid and terrible. [The New York Times]
Meanwhile, the ACLU has filed a suit on behalf of green card holders being illegally detained at airports. A judge has ruled that they cannot be deported. Artist Emily Flake is giving away drawings to people who donate $50 to the ACLU. [Instagram]
Here’s a free ebook about the history, strategies, and ethics of urban protests, including what design professionals can do to resist the administration. [Next City]
A guide for convincing non-believers that the NEA should still receive funding. Basically, it’s one of the most “efficient” government programs from a cost/benefit point of view. [Paste Magazine]
From musicians losing health care to institutions losing funding, pretty much the entire cultural sector is freaking out about the fact that Donald Trump is the worst president ever. [The Guardian]
The shortlist for the artist/architect teams competing to design the UK’s Holocaust Memorial is predictably star studded. A lot of these designs are elegant, but in the way a really nice parking garage is. I think I like the Anish Kapoor and Zaha Hadid Architects proposal the best. [Dezeen]
This video documenting street artist KAWS’ new virtual reality project at the New York Public Library is the goofiest thing I have ever seen. We basically have no idea what the actual work looks like, but the opening pretty much looked like a trailer for Zoolander 3. [artnet News]

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Wednesday Links: Out of Control Coverage

by The AFC Staff on July 30, 2014

Carol Vogel interviews Jeff Koons

Carol Vogel, plagiarist? First, Fishbowl NY reported that part of her lede for a story on Piero di Cosimo appeared to be taken from his Wikipedia entry, which was last modified in May. Now, Dan Duray has gone and found a few other instances where Vogel may have lifted from other sources—but as Tyler Green and Kriston Capps have noted on Twitter, these other examples seem to be a bit more questionable. Still, Green hopes that this will cause people to rethink the “stenographic ‘model’” of art writing. [ARTnews]
More neoliberal platitudes from Jeff Koons, this time on Charlie Rose. Jeff Koons has been so thoroughly mined that this interview appears to have pretty much nothing new to say. “Is it a thing, or is it just simply many things?” Rose asks. “Are you waiting, are you inspired, or do you just have something that’s been there, that you just can’t wait to get on with the creation, and you know what it is?” This coverage is getting really out of control. [Hyperallergic]
“We are all daughters of Suzy Lake.” That’s curator Georgiana Uhlyarik on the influential Toronto conceptual artist and photographer; she will get a retrospective at the Art Gallery of Toronto this year. Lake’s early work was part of the WACK! feminist survey, and the show hopes to reaffirm her importance to generations of female artists. [The Star]
What do Lou Reed, Julian Schnabel, and the creator of Flinstones vitamins have in common? The same musical dog trainer; Elizabeth Weiss teaches dogs to “play” the piano. [New York Magazine]
The Metropolitan Museum of Art President Emily K. Rafferty will step down next spring. She was the first woman appointed to the position. “There’s no hidden agenda here — nothing anybody should be looking for,” she said in a statement to the New York Times. “It is completely my decision.” [The New York Times]
Rapper, producer, and general personality Swizz Beatz has a ridiculous art collection in his house. Right now an 18-foot wooden KAWS sculpture is being erected. That comes straight from Mary Boone. Also check out this X-men painting by Hebru Brantley. [artnet News]
Pussy Riot sues Russia’s government. [BBC News]
Who’s getting sued, number two: The Chelsea Hotel. The foundation for the late artist Larry Rivers wants the hotel to return “Dutch Masters,” a painting on loan since 1998. [Curbed New York]
With the EU about to impose stricter sanctions, Russia pulls a move of its own and imposes greater restrictions on importing eggs from the U.S. [World Poultry]
Madeline’s origin story. [Hyperallergic]
Based on the quite unfashionable look of this Muppet-sock-monster, wearable technology has a long ways to go. [Forbes]
More in hideous, wearable technology: high-tech running shoes that buzz you to your destination. [Wired UK]

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Friday Links: Famous and Not-So-Famous Artists

by Paddy Johnson and Corinna Kirsch on October 25, 2013

Creative Time Summit begins today. Twitter hashtag #ctsummit and livestream feed here: [Creative Time]
Christopher Wool at the Guggenheim gets a lukewarm review from Roberta Smith. Yawn. Christopher Wool. [The New York Times]
Four shows to see in Philadelphia. The Barnes, Kaws @PAFA, Eugene Von Bruenchenhein, Fleisher/Ollman Gallery, Mario Ybarra, and The Fabric Workshop and Museum. [Hyperallergic]
All’s been quiet on the Jori Finkel front. Months after the Los Angeles Times laid off Finkel, the publication’s last reporter dedicated to the visual arts, it appears she’s started covering the California museum beat for The New York Times. This week, she discusses the de Young Museum’s new VIP rate for the upcoming Hockney exhibition. [The New York Times]
“Right now, Whiteread is the most famous artist in Britain.” [Frieze Magazine]
The Metropolitan Museum of Art has renegotiated its building’s lease with the city of New York, with one potentially divisive amendment: the museum now has the ability to change their admission rates without the city’s approval. [In the Air]
Second year Central St. Martin’s art student Clayton Pettet is giving up his anal virginity on stage for an art exhibition. “The key thing about performance art is that it should only be performed once, and this is the ultimate once-in-a-lifetime performance,” he told reporters. Not sure who told him that performance is a one-time gig. [Gawker]

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Tuesday Links: The 1960s, Today

by Paddy Johnson Whitney Kimball and Corinna Kirsch on April 2, 2013

It’s Truffaut (with a little bit of Godard), it’s Wes Anderson, and it’s a Prada commercial. [@gregorg, Twitter]
So, with that Prada commercial it looks like nothing’s changed about the world since the 1960s. The art world, according to William Powhida, does change. In a recent lecture (with notes published online) Powhida compares our lives in the art world to being a MOCA microcosm: we’re beholden to moneyed backers, not like we like it, and “[h]ow well these policies work is entirely dependent on how you think the world is doing, and not just our society”. He also has some good things to say about the gallery model and dealers who, while putting on the guise of success, often aren’t, and only keep going out of “a condition of need (or likely desperation).” MOCA only looks like it’s floundering because we have some insight into what’s happening on the board; we’d probably think the same if we knew what was up inside Chelsea’s backrooms. [@Powhida, Twitter]
Update: George Lucas, we reported in early April, wanted to open up a museum. Now he’s submitted a proposal to city officials to make it happen. From the proposal, we know the museum’s name (Lucas Cultural Arts Museum), and it’s devoted to all the “storytelling” arts (comics, illustration, and animation). If you have any questions, feel free to email the museum’s sole contact: museum@skywalkerranch.com. [The Drawn Blog]
Ew. State Senator Malcolm A. Smith, a Democrat, and City Councilman Daniel J. Halloran III, a Republican, were arrested early Tuesday on charges of trying to fix this year’s mayoral race in New York City. [NYTimes]
Mary Louise Schumacher complains that the Tow Center report on journalism marginalizes culture coverage, and deeming it unimportant relative to “true stories that can change society”. The study itself is very strange, describing itself as part survey, part manifesto. I’m not sure it’s the best starting point for a conversation about arts journalism in mainstream publications. [JS Online]
Brooklyn artist KAWS’ “COMPANION (PASSING THROUGH),” his anime-style cartoon character crying, which has been touring over the past few years from Hong Kong to various US cities, will stop next at Philly’s 30th Street Station. [Hypebeast]
Ho.lee.mo.lee. The Telegraph lists not one, but ten, luxury hotels that have artist residency programs. [Telegraph] No surprise, they tend to favor fashion illustration. [V ogue/Telegraph]

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