DAVOS, Switzerland — Does art change the world? The World Economic Forum would have you think so. The WEF is meant to bring important people together to create world change, but how can art participate in the cause?
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LOS ANGELES — If some reject the idea that culture can be engaged with through your smartphone, others are finding ways to do exactly that, particularly using Twitter.
It’s a cruel world that makes a thief out of an adoring fan. Erik den Breejen is a keen Beach Boys fan and one who knows, now, what the back of a beloved hand feels like.
Sitting in a cold performance space in the gritty, graffiti-ed punk art institution, ABC No Rio, for possibly the final time before the building is demolished for renovations in March, watching the last Michael Alan’s Living Installation performance, I became profoundly worried that I was witnessing the last gasps of a long history of free-wheeling, punk, D-I-Y art.
Somehow I missed the 16,400 internet posts reporting that the ill-fated luxury liner, Costa Concordia — presumably still on its side in the waters off Tuscany’s Isola del Giglio — was the setting for the first act of Jean-Luc Godard’s latest feature, Film Socialisme (2010).
Tomorrow, the doors of 319 Scholes open for the public unveiling of the 48-hour projects that were given birth to during Art Hack Day at the East Williamsburg art/tech space.
Today is my last day at Hyperallergic, and as much as I hate saying goodbyes, I can’t leave without reflecting on the amazing journey this has been.
‘Transformative use’ is just mucking things up. That’s what I think. Providing a pivot for the Cariou v Prince case and the only real point of interest no matter what the pundits say, transformative use, instead of the fog-clearing test that it was supposed to be, has become the main particulate in a legal fog of war that has lasted three years now. Thus far, the dueling Cariou v Prince briefs have added new certainty to my theory that transformative use is a singularly unhelpful notion.
CHICAGO — The third installment of a series in which artists (Barbara Rosenthal, Michelle Muldrow, John Tomlinson, Julia Schwartz and Meghann Snow) send in a photo and a description of their workspace.
