“His career as a New York City taxi driver began with a graveyard shift, a creative itch, and a brazen interpretation of privacy laws.” The New York Times’ Matt Flegenheimer follows up our story on artist Daniel Wilson’s cabby project. Described briefly: Wilson secretly recorded the conversations of his passengers and played the audio collage he made in the cab while he drove people to The Armory last week. Flegenheimer’s account includes a minor fender bender. [NY Times]
Guns sound like flutes, as we heard this morning from artist Pedro Reyes’ gun orchestra. “It’s a spread that would make a cartel boss blush,” remarks Kurt Anderson on Studio360. [Studio360]
A profile on Mike Kelley that includes his last days before committing suicide. Tragic. [WSJ] h/t [c-monstah]
Christopher Knight dubs the LA-MOCA-National Gallery of Art deal a “big, fat nothing-burger.” All this deal making is a result of MoCA being cash-strapped, a mind-boggling issue for an institution whose board includes some of the richest men in the world. [L.A.Times]
Tina Roth Eisenberg (AKA Swiss-Miss) gave a talk last week at #SXSW on her many projects, one of which includes Teux Deux, a to-do app. Roth Eisenberg expressed some frustration today over twitter about push back from users who were accustomed to using the app for free and now have to pay for it. We want her to know that her talk convinced us not only to use the app, but the importance of charging for projects you want to maintain. [Teux Deux]
In internet freedom news, the WSJ’s L. Gordon Crovitz is offending people with his piece “Aiding the Enemy Isn’t Journalism.” In it, he claims that both Bradley Manning and Julian Assange should be charged for aiding the enemy with wikileaks. What? The Freedom of the Press Foundation has run a piece correcting factual errors in Crovitz’s piece. [FoPF]
If you’re behind on the Wikileaks story, “Captives of the Cloud,” part 1 and 2, is a lengthy but essential primer. [e-flux]
The Independent Art Fair's great gift: eye contact. With vast ceilings, large windows, and no cubicle-style booths, people aren’t constantly scanning the room behind you to locate James Franco. This means no angry smiles, no high-speed nodding, and no cracked-out active listening. The tone is friendlier. Admission is free, and light is ample. Much of the work is genuinely interesting. Open space literally translates an air of transparency; though this is still no place for an art experience, it feels closer to an exhibition than a department store.