- Once you see ¯\_(ツ)_/¯, you start seeing it everywhere. Kyle Chayka talks about “the shruggie” [The Awl]
- Also via @chaykak, a Tamagotchi graveyard. Causes of death include “lost too much weight”, and “His ship pulled up and dragged him away without reason”. [Tamagotchi Graveyard, via @questfall]
- Your interactive guide to summertime drinking. [The New York Times]
- Wearing only his underwear, a thief stole a truckload of bread and then made all the scheduled deliveries on the truck driver’s route. [The New York Post]
- Jerry Saltz tells the Met what he thinks they should do when they redesign their Modern and Contemporary Wing. The short of it: more rooms, less atriums. [New York Magazine]
- Part one of Hyperallergic’s Art Basel Hong Kong coverage reports on some crazy shit. Singaporean artist Lee Wen said that something inside China needed to change at the fair’s symposium, and was then found beaten and unconscious in the bathroom. Part two has a solid round up of art work—mercifully not all of it is object based—and reports that the fair, next year, will run in March. That’s not good news for The Armory art fair and The ADAA Art Show, which take place that month as well. [Hyperallergic]
- Oh my God. In the months after Bill de Blasio appointed notorious “broken windows” NYPD Commissioner William Bratton, the NYPD has allegedly smashed a 14-year-old kid’s head through a window. We hope he sues like the 84-year-old man who was bloodied for jaywalking this January. [Thinkprogress]
- Oooh. Christian Viveros-Faune writes that “No Problem: Cologne/New York 1984–1989” at David Zwirner is “neither a school, nor a movement, nor a style. It is, instead, a coordinated history.” Our favorite passage here:
Cologne’s premier bad boy, Martin Kippenberger, squares off with America’s king of banality, Jeff Koons, in a single 19th Street gallery that holds a number of period works by each. The effect is bracing. Rather than call up similarities among the button-pushing works of each artist, the invited comparisons favor the anarchic, self-immolating energy of Kippenberger. Dead or alive, he calls out Koons’ millimetrically calculated excess for what it is—a lightweight reflection on commodity fetishism, this time in the form of kitsch statuary. [Artnet]
