Nick Riggle lives in Brooklyn and is pursuing a PhD in Philosophy at New York University. He is especially interested in aesthetics--beauty in particular--and in issues concerning contemporary art. In his spare time he writes music, enjoys New York city, and occasionally rollerblades, which he used to do professionally. In addition to contributing to Hyperallergic Nick writes about art, philosophy, and culture at Forum And Content.
Nick Riggle has written 4 articles on Hyperallergic.
Arts institutions often tell us to expect great things from their inhabitants. Take the Metropolitan Museum of Art, for (an extreme) example. As you approach it on Fifth Ave, the first thing you see is a monumental stair case leading up to huge doorways flanked by towering columns.
If you make it up the two dozen steps, past the columns, doors, and security, you enter a vast breathtaking atrium. This is your pre-launch prep station.
The concept of artistic collaboration is slippery. New York Magazine’s 31st reason to love New York City in 2009 is “Because Our Street Art is Collaborative.” Maybe they don’t really understand the notion of collaboration.
Depending on how a street artist uses the street they may have something to lose by moving into a gallery space. Peru Ana Ana Peru, which is composed of two artists, use the street primarily as a way of making their striking and fantastical images even more so. We are struck by a colorful image or by a traditional picture frame on a signpost. We wonder what they’re doing there, so we investigate. But a closer inspection is unhelpful: An old portrait with the face scratched out? What does “Peru Ana Ana Peru” even mean?
Much contemporary art is disappointing–street art especially. Even if you manage to find a piece you really like–or, if you’re lucky, one that is really worth liking–it gets buffed, weathered beyond recognition, hyped beyond reason, or it simply disappears. And like all art, its digital web ghost doesn’t replace the real thing. It’s really gone forever. And that’s disappointing, even if you knew it would happen all along. Still, some deaths are better than others.
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Muzi: who is the pink rabbit?
Lawrence Swan: The last sentence of Finch’s article is nice: “Either way, the art world, blind and uncurious about the way... Lawrence Swan: Only the last word of your question appears in the above comment box. There might be a relevant link on page three of the...
tskross: Charlie Finch wrote a short description of Joannou’s business activities over the past few years on Artnet magazine...
Hrag Vartanian: No, that’s an interesting question. Do you have any links to check out?
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