Entries Tagged 'READING, LOOKING, LEAKING, MOPPING UP' ↓

…would you Occupy Oakland with your iPad! Occupy Silican Valley, maybe… This from Mark Murrman’s coverage at MoJo.

Here’s part one of Cat Weaver’s update on the ongoing Richard Prince case at Hyperallergic. And here’s some more by Julia Halperin at ArtInfo.

…are at their best on shoes, seen here on the Met’s blog. Or on skateboards, apparently. And so, facing the global onslaught at Gagosian galleries everywhere, Will Brand at AFC has declared: “So I’m going to lay this down, just to clarify, so that nobody from the future gets confused: we hate this shit. Everyone hates this shit. These spots reflect nothing about how we live, see, or think, they’re just some weird meme for the impossibly rich that nobody knows how to stop.”

(PS. And, if you’ve got the stomach for it, you can win a print if you visit all eleven exhibitions. Seriously).

(PPS. This quote was spotted first on ArtInfo).

(PPPS. Hennessy Youngman also has something to say about it).

(PPPPS. And it has triggered his obituary at the Village Voice).

(PPPPPs. And there’s more! Hrag Vartanian at Hyperallergic flicks some more links…

Aren’t you amazed at how some curators juggle ideas? Here’s MoMA curator Sarah Meister:  “You can’t look at Duchamp the same way after seeing that Watkins picture.” Whatkins? And when you’ve read the full (formalist) rationale to see how such arguments are made by transhistorical visual conjunctions alone, you’re left with what Tyler Green, at ArtInfo, calls curatorial “rhyming”. And hence, another illicit visual “argument” is created, (this time, suggesting that you can find proto-modernist, or even proto-avant-gardist roots in Western naturalism) which messes with history, and creates yet another “history”, annoyingly. And so, following ArtInfo quoting the NYT, if “the word ‘curate,’ lofty and once rarely spoken outside exhibition corridors or British parishes, has become a fashionable code word among the aesthetically minded, who seem to paste it onto any activity that involves culling and selecting,” (as wrote the New York Times in 2009), now, apparently, it’s the “culling and selecting” of the historical narrative that remains the elevated domain of museum “curation”. So, it seems, history is all there’s left to mess with curate.

read this blistering review/interview with Meinhard von Gerkan in Spiegel Online. And then read the Banhof court case reference here in The Guardian.

See. Read. At Hyperallergic here.

…not the way Anton Vidokle writes about it in e-flux. Or the fascination with the Outsider/Insider. If you’re still with me, see here for those who are simply anonymous.

Thanks to Marika Clemow: “Gabori only began painting at the age of 80 when she wandered into the Mornington Island arts and crafts centre in Queensland and picked up a brush out of curiosity. She had probably never been to an art gallery or seen the work of abstract painters from around the world but innately knew how to put colours together.”

in The Guardian

Here’s a sizzling read…