Today, Art Review releases its annual Power 100 list, a ranked list of the contemporary art world’s figures with the most “power,” a word defined by Merriam-Webster’s dictionary as “the ability or right to control people or things.”
One line at the bottom of a press release caught my eye: “Jayson Scott Musson’s work is now available through EAI’s distribution service. For more information, please click here.” If you ever wanted the YouTube star on U-Matic or Beta, this is your chance.
“Pie is the food of the heroic”. A 1902 article linking pie and national success from the Times. [Lawyers, Guns and Money]
The slide shows for Carsten Höller’s exhibition, “Experience” at The New Museum are out. The best come from Gothamist [disclaimer, I'm in a few of those shots], and WNYC’s Carolina Miranda. [Gothamist] [WNYC]
I love this. From the #OWS Arts and Culture working group, Occupy Museums announces BYOM [Bring Your Own Manifesto] at MoMA tomorrow. They will be joined the Sotheby’s Art Handlers in their protest. [Paddy Johnson]
“I'm perfectly willing to take [the naysayers] on” David Hockney tells the Globe and Mail, in a profile largely focusing on his ipad and iphone drawings currently on display at the ROM. Me first! [Globe and Mail]
More than half the work at Rashaad Newsome’s show at Marlborough Gallery has already sold. I’d ask if this is an indication of the artist’s status as a rising star, but it’s hard to imagine anything like that coming out of Marlborough. [NYTimes]
Rumor has it Ryan Trecartin is leaving Elizabeth Dee. Anyone want to guess where he’s going? I’m going with Gagosian. [Galleristny]
Will someone make this news stop: Woman Gives Birth at Brooklyn Gallery [AnimalNY]
Are we moving too fast for meaning? That's the argument put together by Franco Berardi in his essay “Time, Acceleration, and Violence,” published on e-flux. It's the latest in an expanding body of “are we moving too fast for”¦?” thinking, with meaning-as-victim following truth-as-victim (Zygmunt Bauman), character-as-victim (Richard Sennett), and promiscuity-as-victim (Miquel Brown). But does it make any sense?
Searching for the Humanity in Ryan Trecartin’s Digital Dystopia – ARTINFO.com – “Trecartin’s films never slow down, and consequently the impression they leave is of a world with precious little room for reflection, for sincerity, for political engagement, for resistance. All there is to do, it would seem, is surf the tide of frantic banality.”
The internet finally seems to have made a dint in New York’s institutional art world. Cory Arcangel, an artist who began his career manipulating old computer technologies and critiquing web culture, has an entire floor to himself at The Whitney. At the age of 33, his show Pro Tools makes him the youngest artist to receive a solo show at the institution since Bruce Nauman in 1973. Meanwhile, over at MoMA PS1, 30-year-old art starRyan Trecartin is gathering steam with his four hour-plus video exhibiton of fucked-up child-adults on Blackberries, titled Any Ever. The show at PS1, chock full of internet jargon, is just one stop on a world tour that includes the Istanbul Modern Museum and the Musée d’Art Moderne de la Ville de Paris.
The press for both shows has been insane. Two questions come to mind: First, is it really the art that’s prompting this clamor? And second, how did Arcangel and Trecartin end up garnering such a focus in the first place?
It's summertime, you need air conditioning and you've watched all the 3D movies you can. What next? As I see it you've got two choices: the grocery store or the museum. This week at The L Magazine, I point readers to a few museums where they can escape the heat.
Free Date: Wednesday, October 20th 2010 – Thursday, December 23rd 2010 Venue: New Museum, 235 Bowery How are artists responding to the expanded public space the Internet has created? This exhibition explores both the limitations and new freedoms of production brought by a space reliant on the web. Using “Dispersion,” an essay by Seth Price tracing […]