Now that Jerry Saltz has proven himself — yet again — to be an attention whore with his stint on Work of Art, I’m starting to like him more … yes, I love a car crash. And just when we were all jonesing for another fix of “What is crazy uncle Jerry up to?” Artist Jennifer Dalton is opening a show today at the Flag Art Foundation called “Making Sense,” which (among other things) is an “ … attempt to make sense of … New York magazine art critic Jerry Saltz’s incredibly popular Facebook page.” Let the games begin …
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The most striking aspect of social media art is that it contains facets of net.art, by being digital; visual art, by existing on a two-dimensional surface; public art, by existing in spaces used habitually by hundreds of millions of people; and performance art, by being inherently social. Whether the aggregate is greater than its sum remains to be seen …
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Last night marked a watershed moment for the art world: the first time that contemporary art was inducted in the burgeoning canon of reality TV. But the big question is: will it succeed in picking an artist the art world will accept or will the show turn out to be more of a Dadaist farce, too nonsensical to have any relevance?
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On Tuesday, Tyler Green announced that he was leaving his 8 1/2 year stint at ArtsJournal for the mainstream art media world of Louise Blouin Media’s ARTINFO and Modern Painters. The news came as a surprise to many who view Green’s online voice as a cornerstone of the indy art blogosphere. Yet the veteran art blogger — though he dislikes the label — doesn’t expect to change what he already does. The following is the first interview with Green since the big news came out.
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New York Magazine‘s senior art critic has started filing video reports from art events. And on Friday he posted a report from Brooklyn Museum’s “food art” gala created by “food artist” Jennifer Rubell. Her description of the event is priceless … and absurd …
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If the image of the Warhol piñata at the Brooklyn Museum didn’t freak you out enough, the videos of everyone from Jennifer Rubell to Jerry Saltz taking a whack at the thing (and right in the mouth no less) will surely disturb you to no end. If the art world ever needed a good therapist then now is the time, I mean even if it’s just to deal with members of the art-ocracy “bashing a gay guy” thing as a form of dessert!
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Referencing prairie dogs and Mussolini, yesterday New Museum chief curator Richard Flood wound up his talk at the Portland Art Museum on “Creating Networks: The New Internationalism” with some bracing criticism of his own directed at online critique of his institution. Unlike the rest of his talk which very sharply traced American art world’s relationship with work by international artists 1980s to present from his vantage points at the Barbara Gladstone Gallery, Artforum, the Walker Art Center, the New Museum, his final comments were wildly out of touch with the ways we have conversations about art now.
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I’m a big fan of artist Lawrence Swan’s Art Bum series, which follows the life of a frustrated artist who feels alienated from the sexy Art World of fame, fortune and major retrospectives. Given Art Bum’s critique of all things Art World, I was happy to see that Swan’s most recent strip targeted a number of personalities that are currently dominating art chatter in New York: collector/New Museum trustee Dakis Joannou, New York Magazine art critic/Facebook art celebrity Jerry Saltz, and artist/critic William Powhida.
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… new cargo regulations have some in the art world on edge … the New York Observer kisses up to the critic who ate any semblance of sanity … three newspapers are named the World’s Best Designed.
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The war of words between two major New York art critics escalated yesterday when Saltz used his very public Facebook wall to shoot back at Yau for the Brooklyn Rail art editor’s accusation of Saltz being a Koons apologist.
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Holly Gover
Veken Gueyikian
Tyler Zambori
Brittany worgan
