Posts tagged as:

e-flux

This Week’s Must-See Art Events: Carry Us?

by Whitney Kimball on May 13, 2013
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We’re feeling pretty lazy after the fairs, so lucky for us, our art has come pre-bundled. This week: three fairs are still open, Eyebeam launches its video festival, and PS1 continues its Expo on ecology. On Saturday, we get to choose between Redhook and Bushwick. Now all we need is a piggy back.

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Frigging Freezing Art Events for the Frigging Freezing Art Fags

by Whitney Kimball on January 28, 2013
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This week, Bushwick screens video, DIS Magazine holds a stock photo shoot, and seminal people discuss seminal art. Here’s what’s happening on Saturday:

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It’s the End of The World As We Know It

by The AFC Staff on December 28, 2012
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This year, the art world became more dysfunctional than usual. As such, we talked about social injustice, power struggles, and uneven distribution of wealth seemingly endlessly. Who knows if it helped, but writing these ten posts made us feel just a little bit better.

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e-flux Co-Founder Anton Vidokle Says .Art Will Not Be Curated

by Paddy Johnson on June 25, 2012
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Over the past few days AFC commenters have expressed concerns about e-flux “curating” the .art domain, should the company win the bid. Well, e-flux co-founder Anton Vidokle says that’s not going to happen. The artist and writer responded to AFC commenters this weekend, explaining that art practitioners would simply be given priority over the .art domain should they want it. Vidokle’s comment can be read below or in our comment section.

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On Taking AIM! The Business of Being An Artist Today

by Paddy Johnson on April 12, 2011
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Add Marysol Nieves “Taking AIM: The Business of Being An Artist Today” to the list of new resource books aimed at emerging artists. Published by Fordham University Press and The Bronx Museum of The Arts, the book begins with a long discussion of the Bronx Museum’s Artists in The Marketplace (AIM) with Executive Director Holly Block and former Program Facilitator Jackie Battenfield. A well-known and competitive professional training program for emerging artists, the interview reflected on the program, and kicks off a book celebrating AIM's 30th anniversary with a series of interviews, testimonials and commentary. Chapters are titled after profession, institution type, and any other cog in the New York art world’s wheel.

Occasionally stale albeit informative the first two chapters get off to a slow start. A low point was reached when Kate Gilmore offered “make good work” as sage advice to emerging artists. I'm sure this will solve all sorts of problems in studios across New York.

I’m not going to review the book in its entirety, as each essay and interview is significantly different than the next, but Anton Vidokle’s “Art Without Market” clearly stands out as worthy of reflection.

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