Reuben Negron, an artist who lives and works in Connecticut and New York, is best known for his realistic watercolor depictions of intimate moments, ranging from the raw to the vulnerable. His scenes often give me the impression of looking in a mirror. Negron’s series This House of Glass, “an intimate exposé on what we keep hidden from others – and in many cases, what we hide from ourselves,” and Dirty Dirty Love, an exploration of “sex, sexuality and identity as concepts … [through] interactions with individuals and couples in domestic and private settings,” were both shown as separate solo exhibitions at Like the Spice Gallery in Brooklyn.
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20-year-old artist Jennifer Pawluck was arrested Wednesday morning at 10:30am after posting a picture of anti-police street art on her Instagram feed a few days before.
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Editor’s note: This is the second in a series of commissioned essays for The World’s First Tumblr Art Symposium on Saturday, March 9, 2013.
When I sent my first email in the 1990s, the internet was just beginning to hit the mainstream. The idea that we would use the internet to talk to friends we knew offline had yet to take off. Most of the nascent social web culture, from usenet to telnet to AOL chat rooms, consisted of socializing largely with strangers. These strangers might eventually become friends, of course, but they’d start out as strangers in the purest sense of that word. At the outset, you didn’t even know their name, age, location, perhaps not even their gender.
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Go to vinepeek.com. Spend five minutes watching it without tearing up, feeling overwhelmed by humanity’s vastness, and becoming totally addicted. I dare you.
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By now you may have heard of Vine. If you’re on Twitter at all, you’ve definitely heard of and/or seen it. You may not have actually used Vine, but you probably will soon — it’s the newest multimedia format to hit social networks, a more complicated version of a GIF or a simplified version of a home movie.
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Did you share a quick Instagram at Ann Hamilton’s “Event of a Thread” (2012)? You were not alone. At the end of the exhibition, visitors had shared 4,640 photos.
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As soon as we published Samantha Villenave’s essay “Kate Middleton Portrait Buzz: Art Criticism, Sexism, or Something Else?” (01/11/13), we immediately saw readers respond, particularly on Facebook.
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VALENCE, France — The internet has its royal panties in a bustle, once again. Today’s unveiling of the portrait of Kate Middleton, or rather the British Duchess of Cambridge, met with gasps of horror, followed by a cascade of sarcastic media and Twitter wit. The subject of much of the outrage and verbal discourse being the pressing matter of whether artist Paul Emsley portrayed the future queen as being pretty enough.
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Museums sometimes seem to have a split identity — some institutions are on the bleeding edge of innovation, taking full advantage of the internet and technology in spreading access to their collections and programming. Others are stuck in the past, operating just how they might have decades ago with administrations unwilling to push technological initiatives. A report from the Pew Internet & American Life Project on “Arts Organizations and Digital Technologies” provides a fascinating insight into just how museums and other cultural institutions view their relationship to the web.
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HOLLAND, Massachusetts — The use of electronic signals for instantaneous, mediated communication began with the telegraph, intensified with the telephone, and today flourishes across the internet. It would not be hyperbole to say that physical proximity is no longer essential to social exchange. And yet, amid the brisk technological changes of our time, our bodies (our physiological hardware, so to speak) remain effectively constant. What mirrors the pace of technology, rather, is the shape of our behavior.
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