It’s hard to say why I like this 2011 GIF by Chris Shier (who made the cubes and found the dashboard), Juan Amaya (who layered them), and Tom Moody (who GIFed them). It reminds me of the terrifying Internet nightmare/driving sequence in the first thirty seconds of Ryan Trecartin’s I-BE AREA. I don’t think that’s the level of critical analysis Moody might want from GIF of the Day, but for GIFs that made to be distracting, disorienting, and seamless, then this one does the job.
Hauser Wirth + Schimmel, the Sterling Cooper Draper Price of the art world, descends upon LA with a 100,000 square foot building in a gut renovated former flour factory. Is the art world shifting its center? [Artnet]
We’ll be following Carolina Miranda’s new culture blog at the LA Times for the answer. [LA Times]
The above Mad Men comparison was ripped off from Christian Viveros-Fauné’s review of Lucien Smith, whose show he believes smacks of calculated career moves. As usual, there’s no shortage of quotables, but here’s a line that made me laugh so hard I snorted tea out of my nose: “Smith, along with a singularly opportunistic generation of twenty- and thirtysomethings — call them the Opportunists — produce paintings tailor-made for the market.” [Village Voice]
“The worst cases require the worst tools,” says Dragan Espenschied, Rhizome’s digital archivist, when referring to the problem of preserving art criticism on Facebook. Espenschied has come up with a way to archive your actions in a browser which requires an individual to access Facebook through a proxy server that would record data from their interactions. As Tom Moody brought up in the comment thread to this post, it doesn’t solve the problem of privacy settings, which affect what a user sees, but Kaplan says Rhizome is working on it. [Rhizome]
Salvador Dali wrote a cookbook! The book costs $350 on Amazon, but Brainpickings has published a few of the recipes, such as Conger Eel and “Thousand Year Old Eggs”. This of course comes with grotesquely exaggerated faces and self cannibalizing food. [Brainpickings]
Jorge Daniel Veneciano took over as director at El Museo del Barrio in March, and in the three months he’s been there he’s closed the half million dollar budget deficit that had plagued the museum. Now to avoid the dull drums. Holland Cotter discusses the new programming noting that it’s a solid but conservative lineup. [The New York Times]
Claudia Hart’s show at Bitforms is inspired by Alice in Wonderland. I take a look at the exhibition on Artnet; conceptually, Hart’s work is very weak. [Artnet]
Speaking of Bitforms, it seems the gallery cancelled Postfeminism, a show that was slated to open three weeks from now and was curated artist and curator Marisa Olson. Irate about the cancellation, Olson took her complaints to Facebook. [Facebook]
Bad news in San Francisco. Intersection for the Arts has suspended its programs and laid off curators. Their fiscal sponsorship program will remain in tact. [Kqed.Org]
Bad news for the Glasgow School of Art. A massive fire broke out at the school earlier today. [BBC]
Amazon is not making any friends in the literary community for actively discouraging people from buying books from the publisher Hatchett. Now, they have escalated that battle buy refusing orders. [The New York Times]
Roberta Smith says the New Museum is alive with music thanks to Ragnar Kjartansson. This is a review that makes you want to see the show. [The New York Times]
Tom Moody thinks the New Romantics exhibition at Eyebeam would have been better without the New Romantics lens. [Tom Moody]
I’ve never bought into the popular art world belief that an in between state is somehow implicitly good, but this GIF by Tom Moody and deaniebabie makes a good argument for the value of that state. It’s not that the morphing from ring to shrimp necessarily makes a greater statement, but as a viewer, you’re inclined to look a little harder as the identifiable shape disintegrates and reforms.
In this case, there’s a real beauty to the simplicity of movement and grace to the shifting of states, so the loop has the same kind of satisfaction as watching a metronome. It’s surprisingly mesmerizing.
Tom Moody has complained that there’s not enough analysis in our GIF of the Day posts. He thinks the Anthony Antonellis GIF I posted a few days back lacks compelling movement and content. I stand by the pick. The image isn’t supposed to have any deep meaning—it’s supposed to look like spamm, and it succeeds—but Moody brings up a fair point. Why bother posting all these images if we don’t look at them critically?
We’re going to change that. Once every three weeks or so we’ll take a look back on the GIFs we’ve posted and talk about what we think succeeds and what we think falls flat. Tom Moody’s Sketch_J3 is now on that list.
Good morning and happy Snow Day to New Yorkers. I woke up to horizon of snow and promptly decided to eat a plate of cookies for breakfast. It’s like Christmas all over again!
According NPR’s onsite Prospect Park reporter there are already sledders populating the hills. Weeee!
Meanwhile, around the web:
Edward Winkleman kicks off the New Year with a dozy by defining a “Collector of Contemporary Art”. How do you earn that “capital C”? The money quote: “It’s a commitment to work toward the collective goal of ensuring that the best art of our generation is preserved for posterity.” [Edward Winkleman]
Michael H. Miller recaps Charlie Rose’s interview with Richard Serra. Very, very amusing. [Gallerist]
Artist Tom Moody is doing a little micro-fundraising: donate $7 or more and get a full download of his recent tunes. The LP is called Silent and Spectral. I like Moody’s blog and his music so I’ve chipped in a little money. I recommend that anyone who feels similarly do the same. As we well know around here, maintaining a blog is shit ton of work. Add to that, an artistic practice, and, well, that’s all your free time. Even small donations go a long way, so help the artist out. [Tom Moody]
Hyperallergic’s Mostafa Heddaya wonders what the arts in the city will look like under De Blasio. No answers in this roundup of media thoughts on the subject, but it would have been worth mentioning that the city’s Commissioner for the Department of Cultural Affairs, Kate Levin, is one of many key employees leaving to work with Bloomberg’s new city management advisory firm. That’s the big under-reported news (more on that soon). [Hyperallergic]
There’s a world of unhappy Internet commenters unhappy that Paul Krugman took a day off. David Brooks filled in and spent 750 words ruminating on how his experience smoking pot as a teenager informs his opinion that states shouldn’t be “encouraging” (legalizing) pot smoking. [The New York Times]
For fun: 10 Unbelievable Things in Nature That Actually Exist. [KULfoto]
And on a depressing note: Time journalists will now report directly to the magazine’s business executives. I guess we can expect an increased number of listicles from Time. [The Dish]
Reviews of the Met’s Punk show seem unilaterally negative so far. The Times, Gallerist, ArtInfo and Hyperallergic don’t like it (an understatement for Hyperallergic’s Geraldine Visco). My review comes out in the L Magazine next week.
Gawker reporter John Cook has seen a video of a man he’s told is smoking crack cocaine. He believes that man is Toronto Mayor Rob Ford. Toronto Star reporters are claiming to have seen the video too. Ford’s denies the allegations and has had his lawyers send Gawker an email threatening legal action. Gawker has responded by posting the request. [Gawker]
Relatedly, Rob Ford is the worst mayor Toronto ever. [Wikipedia]
Tom Moody isolates the 180-degree rule as important in an essay about GIFs as micro-cinema. “Both [Bruce Conner's] A MOVIE and these animated gifs employ some common cinematic principles. The cuts create an eyeline match, which make it appear as though the characters are looking at one another, and obey the 180-degree rule (meaning that if you draw a straight line between their eyes, our perspective stays to one side of it).” [Indiwire: warning, there’s a 15 minute static ad that pops up before the article can be read!]
AFC Alumn Julia Halperin will be moderating an ArtsTech meetup on the Art Market. If you live in New York and aren’t in Venice, you should go to this. [ArtsTech]
Roberta Smith isn’t thrilled with the dick measuring contests going on in Chelsea between David Zwirner/Jeff Koons, Gagosian/Jeff Koons, and Hauser & Wirth/Paul McCarthy. Nonetheless, she measures, and concludes that Hauser & Wirth/Paul McCarthy has the biggest dick of them all. [NYTimes]
Tom Moody’s got a lot of great posts on his blog right now, including a sympathy letter to artists who made Hissbitch’s Five Worst Net Artists list, and some griping over the meet-up event titled, “Social Media, Art, and The Like Economy”. Moody points to Ryder Ripps’ “Zillion Hits vs The Darger Economy” as a better way to frame the discussion. He’s right, of course, though waiting til you’re dead for fame doesn’t leave much to talk about on a panel like this. That said, Marina Galperina expressed an interest in viral content driven by conflict, so perhaps this panel would have benefited from hosting at least one person who doesn’t give a shit about likes. [Tom Moody]
Speaking of The Like Economy, this NYTimes Bits blog post about how Facebook may actually be suppressing likes you don’t pay for is frightening. [NYTimes]
Carolina Miranda’s post on Richard Jackson will be made into a TV show if she can get enough votes. This is what journalism 2.0 looks like. (Vote for her). [kcet]
Blast from the past: 8 months ago Edward Winkleman posted an excerpt from a newsletter by collector Alain Servais about what he calls “very bankable artists” VBA and the necessity for galleries to “grow or go”. Very prescient. [Edward Winkleman]
Related, in that same post, a number of commentors speculate on the meaning of a tweet I sent out back in August that read, “Art could do without the art world”. To be clear, I was simply referring to the ridiculous apparatus that holds this economy together, which includes a world of bullshit press releases and art lingo, skeevy dealers and curators, and a press corps that eats all this nonsense up. We all have days where we can include ourselves on that list, but hopefully, not too many. [Edward Winkleman]
Art critic and monochrome expert Thomas McEvilley has died. Jerry Saltz writes a beautiful obit. [Vulture]