Today, we announce that our quest to find the worst piece of art PR in the universe has become a contest decided by our loyal readers and fellow netizens. For the first ever Worst.Press.Release.Ever. match up we’ve called on two friends of Hyperallergic to battle it out in a contest that will bestow on the winner bragging rights for eternity.
So, without further ado, I’d like to introduce the luscious Lyra Kilston, who is no stranger to Hyperallergic fans, and the ambrosial Paddy Johnson, aka Art Fag City, to rumble it out in a contest decided by your votes as to which is the WORST.PRESS.RELEASE.EVER!?!?
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One of the most important social, political, and artistic concerns facing us today is the question of access: our ability to share media, our ability to take ownership of or simply to view films, music, and other forms of art. In the past, non-digital and only finitely reproducible media created a certain type of economic exchange and ownership which has long been upended by file sharing. Every day millions of people download and stream films on the Internet in an alternative form of exchange more related to cultural capital than economic capital. This is a political action accomplished as easily as downloading the flat version of Avatar.
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Outside of the major art fairs there’s dozens of other art things to see and do in Miami, including Wynwood Walls, which featured a bootilicious Sissy Bounce performance, art by Fairey, Swoon, Stelios Faitakis, Los Gêmeos, and more.
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If looking at art is fun, watching it burn is great. There’s something cathartic about attending an event dedicated to the destruction of art in the middle of the world’s largest art fair bacchanalia.
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Recently on Hyperallergic, An Xiao’s “Cover Art, or Vito Acconci Gets a Follow Back,” made the case for artists who choose to directly reference or re-stage existing artworks. She draws a comparison between derivative works and cover songs. This may be an apt comparison, but she glosses over an important fact: most cover songs are terrible.
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Ah, the e-flux email list, ever full of surprises. One day it might elicit a cri de couer of indignation (“really?”), and the next day just a dramatic eye-roll. Sure it’s a very useful tool, but it’s also chock-full of self-important curatorial jargon, exaggerated claims, and overblown PR-ese…Which brings us to Hyperallergic’s new semi-regular feature: Worst. Press. Release. Ever.
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In his latest edition of Hypermedia, artist Artie Vierkant explores ideas of surveillance and sousveillance in the work of artists Jill Magid, Steve Mann, Josh On, Ryan McKinley, and Trevor Paglen.
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On Sunday, many New Yorkers were probably trying to figure out who whitewashed and pimped out some of the city’s boring billboards. If you liked what you saw then let me introduce you to the man behind the renegade campaign, known as New York Street Advertising Takeover (NYSAT), his name is Jordan Seiler and he wants to return public space to the people.
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Hypermedia columnist Artie Vierkant interviews artists Daniel Keller and Nik Kosmas, who are more commonly known as AIDS-3D. Their work deals with a multitude of issues at the intersection of art, technology and society and they frequently employ cultural ephemera from the Internet rendered in aestheticized and irreverent ways.
Their work has been exhibited at The New Museum, PPOW, The X Initiative, Gentili Apri Berlin, Centro de Arte Dos de Mayo, X Biennial de Lyon, and on the Internet. They recently contributed an essay, “Hubris/Nemesis/Whatever” for Art Fag City’s IMG MGMT series.
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My husband was walking down Bedford Avenue on Wednesday, and he spotted someone pasting up posters on a wall which is almost always dominated by a giant Shepard Fairey poster, so frequently in fact that it might as well be his permanent ad space. It was lunchtime and no one stopped or cared. Knowing my love of street art, and what can sometimes be inane details, he quickly snapped a pic with his camera phone and emailed it to me with the message, “Someone covering up fairey [sic].”
What at first glance appeared to be a run of the mill “sniping” (i.e. illegal posting of corporate advertising), turned out to be a new street art campaign, iBlanket, though the artist prefers the term public art. The brain child of Bushwick artist Ann Oren, iBlanket riffs off the ubiquitous Apple “i” genre and turns our attention to the problems of homelessness just as the temperatures have started to plummet.
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