Black artists are noticeably underrepresented in Wikipedia’s archive of contemporary art. That’s hugely problematic. Today at MoMA, the Black Lunch Table is hosting a social edit-a-thon to help fill in the blanks.
The art world must have speculative fiction on the brain. The week starts with a discussion of the art of 2050 and continues with art about the seen and unseen (“the unknown” is a pervasive theme this week). There’s also a lot having to do with data: the good, the bad, and the ugly—depending on how you feel about infographics.
Will the negative press from MoMA’s Björk retrospective ever end? Earlier this week, Christian Viveros-Faune wrote a mammoth expose on the subject that included calling for the firing of MoMA Curator-at-Large Klaus Biesenbach, and the rest of the week has been dedicated to the responses. Naturally Artnet has already rounded them up and added the thoughts of much maligned former MoCA Director Jeffrey Deitch. (Deitch compares the diatribes against Biesenbach to those that were lodged against him two years ago.)
This week, it’s art for all your senses. Start the week with a cinematic sensory overload. Taper off with some quiet contemplation and intentional time-wasting. Watch a very different kind of silent film, take a hands-on approach to roaming the city, or consume some art—literally, at a dinner party. What else is on this week’s menu? Cyborgs, activists, and dead squirrels. Yum.
Because I have but two interests, art and Game of Thrones: Last night, while watching artist Phil Collins’s film Tomorrow Is Always Too Long, I noticed that actress Kate Dickie, who plays Lysa Arryn in GoT, also features in the art film. In Dickie’s role as a TV psychic, she gives one of the strangest, most powerful monologues in the film—I highly recommend seeing it. There’s only one more screening at MoMA this week, today. [Cinefilm]
Pee-wee Herman is still very much around to fulfill your childhood dreams, or nightmares. Judd Apatow will produce a new Pee-wee Herman film, Pee-wee’s Big Holiday, a Netflix-only release. Production will begin in three weeks. [Pee-wee.com]
David Geers analyzes contemporary formalist painting, by artists ranging from David Ostrowski to Amy Sillman, as a political exercise and as evidence of ruin. Though the article tries too hard—Geers reads meaning into paintings when the evidence for said meaning—“as sombre explorations of indistinction, they depict collapse rather than perform it materially.” Anyway, read it. I’ll be online all day chatting with you about it on Twitter. [Frieze]
“The Hypocrisy of the Artistic and Critical Left,” a think piece that’s making the rounds, now has an e-flux forum devoted to it. Now you know where to air your frustrations or sing the article’s praises. [e-flux]
Happy National Adjunct Day! Most of your teachers will be at home, looking for other jobs. [Gawker]