Posts tagged as:

the new yorker

Wednesday Links: Cave, Hands, Reptile, Not Human

pig beach

Sans context, arguably the day’s creepiest-sounding headline: “Cave Art Hands Made by Reptile, Not Human”. [Discovery News]
When it’s cold, I like to compare airline tickets on Flight Scanner — somewhere, anywhere, warm. Right now, I’m looking at the Bahamas, solely because I want to visit Pig Beach! It’s actually called Big Major Cay, and is a mysterious island where dozens of feral pigs live. Wouldn’t it be fun to swim with pigs? They’re highly social and smarter than dogs, dolphins and three year olds. They like to play and relax in the sun—I’ll take hanging with a pig over a parrothead at a surf bar any day. [National Geographic]
Hrag Vartanian was at yesterday’s Met Breuer press preview, and wasn’t impressed, especially by its main exhibition of the so-called “unfinished”, “an almost exclusively Eurocentric stroll through Western art history.” Ouch. [Hyperallergic]
Phillips CEO Ed Dolman says the art market is in a period of consolidation. Apparently only 51% of lots at their “New Now” auction of emerging art on Monday reached buyers. [Bloomberg]
On the mainstreaming of selfie feminism, it’s uncomplicated relationship with narcissism (largely shaped by the baggage of “basic bitch” white feminism), and how artists — specifically, black women, femmes, and gender-nonconforming — can potentially “demolish the gaze”. [The New Inquiry]
Miri Regev is Israel’s new Minister for culture and sport and she sounds horrible. She’s threatened to defund “disloyal” artists, punish theater troupes who refuse to perform in the occupied territories, and banned a book about an Israeli-Palestinian couple from schools. [The Guardian]
OK, this is pretty great: a UK firm has created an official “period policy” for female staffers. [The Guardian]
Instagram of the Day: Veteranas and Rucas, an archive of photos from the 1990s Chicano underground. [KCET]
Silvia Killingsworth, currently managing editor of the New Yorker, has become the editor of The Awl and The Hairpin. She starts in April, and will be overseeing a revival of both sites. [The Awl]

Read the full article →

Thursday Links: We’re All Going to Die

by Paddy Johnson and Corinna Kirsch on May 28, 2015

An adult woman who is actually obsessed with Barbie.

Dear Opening Ceremony: Adult females do not have “five-year-old Barbie dreams.” If they do, it’s probably not a good thing. Re-evaluate your headline, please! [Opening Ceremony]
Tonight in New York: an exhibition of smartphone-originated work by artists, mostly from Iran. Curated by our new-media faves Morehshin Allahyari and Myriam Vanneschi. [Babycastles]
For her current residency at software giant Autodesk, Morehshin Allahyari is making 3D prints of historic statues destroyed by Islamic State. [Motherboard]
“We’re all going to die,” the political campaign. [The Awl]
Journos, randos, and bloggers have already begun to descend on Minneapolis for the Walker Art Center’s Superscript, a conference on the future of online art journalism. On the Walker’s online mag, you can now read what several internet-y writers and curators think about what the near future holds for the state of digital art crit. ¯\_(ツ)_/¯ [Walker Art Center]
Stop making fun of women for using emojis. Studies now show that women are far more creative writers thanks to the digital age. (Cool, now let’s see this talent equate to top editorial jobs.) [The Cut]
Adam Gopnik knows how to tailor his sentences, and his arguments. In the latest New Yorker, he analyzes the moral and legal imperatives behind paying artists royalties for the resale of their works. But who is his audience, really, with a sentence like “Whatever Phidias or Praxiteles did it for, it wasn’t for the naches”? Ivy-league grad students focused on Yiddish and Greek? [The New Yorker]
Oh, hai, Mark Dorf! Your interviews are all over the digi-internets right now. Rhizome just interviewed you for its “Artist Profile” series, and you’re interviewing photographers for LENSCRATCH. [Rhizome, LENSCRATCH]
Future-speculators, the Oculus Rift virtual-reality headset will cost you around $1,500. The consumer version should be available in early 2016. [Polygon]
500 feet of copper cable was stolen off subway lines in Queens on Wednesday, causing delays in rush-hour traffic this morning on the A and C line. [The New York Times]

Read the full article →

Monday Links: “Breastfeed Them”

by Paddy Johnson and Whitney Kimball on January 12, 2015

Image via The Associated Press

In boobs news, in a recent baptism speech, the Pope expressly welcomed mothers to breastfeed in the Sistine Chapel. “Give them milk,” the speech originally read, which the Pope changed to “breastfeed them”. [Wonkette]
“Is the New York Art Scene Doomed?” Yes, Ben Davis thinks. “In essence, the traditional relationship between suburb and city in American life is reversing.” I’ve drawn the same conclusion, though think that the bluechips are likely to remain where the money is. He’s guessing Detroit will be the next haven. I’d add the Catskills. [artnet News]
War has been waged over Ryder Ripps’ upcoming show “Art Ho” at Postmasters, which references heroic Ab/Ex gestures while smearing images of model Adrienne Ho. Dissidents are offended by yet another male appropriation of beauty. Defenders have called free speech. We’ve made our views known. [Facebook]
Another forgery in a museum story. [artnet News]
How is Carolina Miranda so good at her job? Here’s an amazing interview with Tania Bruguera, the Cuban artist arrested recently for an attempted performance about free speech in Cuba. Read all of it. [Culture: High & Low]
This is so fucked up. Worried that he didn’t have enough problems of his own to make good art, artist Joseph Gibbons, a former visiting professor at Bard and an instructor at MIT started creating them. He made two films on drug addiction and started robbing banks for “research” purposes. The stick up is bizarre: he points a camcorder at a teller and politely hands the person a note demanding a donation for his church. Exactly what threat, if any, is made in the note is unclear. [The New York Post]
Music critic Sasha Frere-Jones is leaving The New Yorker to work for Genuis.com. [Gawker]
Wow, Christopher Glazek’s annotation of his New York Times Magazine profile on Stefan Simchowitz is amazing. It sources statements in response to the piece by its subjects and responds point by point. If you’ve been following this story, reading the annotation is incredibly satisfying. [Genius]
One of our past contributors John Gawarecki-Maxwell on the conspiracy surrounding the Illuminati in WWE, and conspiracy theories in general. An entertaining read, even for those of us who don’t get the references. [Prowrestling.cool]
The dialogue continues on A Blade of Grass responding to our follow-up reporting on the Gramsci Monument. Lex Brown, who was a teacher at the monument throughout its run, feels that the Monument was something to be experienced and not analyzed with the standard critical remove. “It was a remarkable idea that came to successful fruition, through real love and real work, and beyond all the restrictions of society, identity, and politics. That reality of love and work needs to be celebrated and elevated.” [A Blade of Grass]
If artists are now aligning and identifying with small businesses (as Ben Davis and others have been advocating), then there’s a petition on Change.org calling for Mayor de Blasio to support the Small Businesses Jobs Survival Act. [Change.org]

Read the full article →

Thursday Links: Streetwise, Martha Stewart

by Art Fag City on November 21, 2013

Photographer Mary Ellen Mark and her husband director Martin Bell are crowdfunding a follow-up to their 1983 project Streetwise, which documented the lives of eight teenagers who lived on the streets of Seattle. Bell’s original film was nominated for an Oscar, and Mark’s photos were published in a monograph by Aperture. [Kickstarter]

Ryan McGinley profiled in the New York Times , focusing largely on his role mentoring younger artists. The piece ends “I’m learning just as much hanging out with Petra [Collins] as she is hanging out with me.” [The New York Times]

Mathilde Aguis and Reto Schmid’s new show “Daze Daze” available online for those of us not in Zürich. [Novembre]

The New Yorker on Alain de Botton’s new book, Art as Therapy. The book advocates for museum curators thinking more like therapists, organizing galleries around “human-scale themes, like marriage, aging, and work.” The website for the book includes a tool for finding a work of art that might improve your day. [The New Yorker]

Martha Stewart has been tweeting some truly gross looking food. Buzzfeed picked up on this, and Stewart responded via twitter with an image of some grey pasta and the comment “Now if any one thinks this is a bad photo you are ridiculous.” It is a bad photo. Anthony Bourdain hashtagged it #deadpastababy and #stopmebeforeikillagain. Very entertaining. [@petewells]

Last night’s Youtube spelunking introduced this Canadian to Schoolhouse Rock. Some favorites: Figure Eight and the classic, I’m Just a Bill. This came out of the revelation that this kids video on Pi is an imitation of 70’s public access television. [Youtube]

Occupy has purchased $15 million worth of American medical debt. Incredible. [The Guardian]

Cole Books has sold the site that is home The World’s Biggest Bookstore to a Toronto developer. The store, (which is not actually the world’s biggest bookstore, but large none the less) will close this February. [The Toronto Star]

Read the full article →

MATTE: Elisabeth Biondi, “The Pictures Have to Be Strong”

by Matthew Leifheit on October 7, 2013

Even those unfamiliar with Elisabeth Biondi’s name have probably seen her work. Until she left The New Yorker in 2011, she had been their photo editor for fifteen years. Prior to that, she was the photo editor for Vanity Fair. And before that, she was the photo editor for Geo, a German magazine with a focus on geography, history, and world culture that went out of business in the 80’s. For this interview, I talked to Biondi about what it was like to work with photographers like Annie Leibovitz and Helmut Newton, what life at The New Yorker is like and how photography has changed since she got in the game. The short answer to that last question: video is going to have a much bigger presence in the future.

Read the full article →

Tuesday Links: BIG Money

by Paddy Johnson Corinna Kirsch Gabriela Vainsencher on September 17, 2013

Artist rendering of the Brooklyn Bridge Park by the Bjarke Ingels Group (Image credit:New York Times)

Prepare to be amazed, or offended. Lizzie Widdicombe profiled entrepreneur Bryan Goldberg on his latest multi-million dollar start up, Bustle, a news and culture blog written by women, for women. He seems to be an odd choice for knowing what women want: “I don’t have a lot of overlapping interests with most women my age. I’m really into history. I’m really into markets and finance.” [The New Yorker]

“The core questions around the picture have little to do with the rapid technological changes that take place … For this exhibition, I avoided using any recent technology precisely for these reasons.” Beryl Gilothwest interviews Elad Lassry on his just-opened show at 303 Gallery; it’s a good read, if a bit upsetting that he doesn’t identify technology’s place in photography today. [Art in America]

If you’ve spent any time in Chicago, you’re familiar with painter Ray Yoshida who taught at the School of the Art Institute up until 2005. His entire home collection of outsider art, comics, thrift store tchotchkes, and all other types of weird ephemera, is now on view at the John Michael Kohler Arts Center in Wisconsin. [John Michael Kohler Arts Center]

Let us once again welcome “Autumn Man” to New York. [The Onion]

Bjarke Ingels Group (BIG), has proposed building a giant triangular platform that juts out from The Brooklyn Bridge Park. All they need is the Public Design Commission’s go-ahead and $8 million in privately raised funds. This architecture firm makes great projects—let’s do this. [The New York Times]

Artist Malte Wandel has been documenting Ghanaian street style in a series titled Please Don’t Smile. [The Huffington Post]

Hard to believe that Toronto Mayor Rob Ford even has an election gear to move into post crack-smoking scandal, but read the headline and prepare for puzzlement. [The Toronto Star]

Read the full article →

Art Authenticator’s Case Against Art F City’s Paddy Johnson and Others Dismissed

by The AFC Staff on August 6, 2013

The Southern District of New York, in an opinion written by Judge J. Paul Oetken, has dismissed a claim for defamation by Peter Paul Biro against Art F City’s Paddy Johnson. The blog post cited in Biro’s complaint had quoted passages from a David Grann article originally published in the New Yorker.

Read the full article →

How Radical Is Dasha Zhukova’s Magazine?

by Reid Singer on September 8, 2011

Since her art and fashion magazine, Garage, launched a few weeks ago, I’ve wondered where her executive board keeps shop. But does she even have an office? I’d have loved to practice my humble Russian skills by chatting with an editor–even for just a few minutes–but up to now, attempts at locating even a home page with contact info have been woefully futile.

Read the full article →

Panel Discussion Recap: New Yorker Fiction / Real Photography

by Reid Singer on June 29, 2011

Some of the inner workings of The New Yorker's Fiction department were revealed at a panel discussion held last week at Steven Kesher Gallery with four of the company's veterans. The panel, made up of Editor Deborah Treisman, Visuals Editor Elisabeth Biondi, A.M. Homes, and photographer Malerie Marder, spoke largely about the relationship between images and content.

Read the full article →

What Would Andy Warhol Do About Donald Trump?

by Paddy Johnson on May 10, 2011

Has anyone else noticed that virtually every cartoon in this week’s New Yorker looks like “presidential candidate” Donald Trump? I’m sure this isn’t an accident, but does Trump really need any more attention than he’s already received? In the spirit of gratuitous name dropping (and rendering) we’ve added Warhol to the title of this post, and will likely include some auction records when we run out of things to say about the Trump cartoons. A few images and comments after the jump.

Read the full article →

the new yorker

MATTE: Elisabeth Biondi, “The Pictures Have to Be Strong”

How Radical Is Dasha Zhukova’s Magazine?

Panel Discussion Recap: New Yorker Fiction / Real Photography

What Would Andy Warhol Do About Donald Trump?

Get Our Newsletter!

Like Us On Facebook!

Follow Art F City

What is Art F City?