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Pitchfork, the inveterate hipster music site, recently announced plans for a music festival in New York City named #offline. Social media is great and all, but the sudden popularity of names that begin with the Twitter hashtag-indicating # are starting to be mildly annoying, however niche it is.
Pitchfork’s move brings to mind the antics of Jennifer Dalton and William Powhida’s Winkleman Gallery-hosted #class, the dynamic series of events, lectures, and social media-integrated happenings that critiqued the entrenched art world, just like #twitter critiques #mainstreammedia. The artist duo just announced a sequel to the first event, deemed #rank, to take place at the 2010 Art Basel Miami Beach-adjacent SEVEN fair. No doubt the name will be tweeted often.
The omnipresence of Twitter nowadays has led to an extreme glut of #hashtag consideration. From deciding what hashtag is best for the event being talked about to measuring whether its best to have single or multiple hashtags, it’s just too much. Do we really need hashtag theory? The 2010 Whitney Biennial sparked comment with its blogger-led #whibi, and internet denizens poked fun at Bravo’s Work of Art reality show with the middle-school #workoFart. And what about Art Basel Miami Beach this year? #abmb2010? Writing it out in full would pretty much knock out that 140 character count.
Internet humor is great and all, but as the Trending Topic says, if we could all just chill on the hashtags, #thatwouldbeawesome.
The works in Fault Lines prove that abstraction need not be confined to the inner life of the artist.
Celeste’s sculptures all rely on natural forces to achieve balance, and thus are perpetually on the precipice of collapse.
Romanticism to Ruin: Two Lost Works of Sullivan and Wright memorializes Chicago’s Garrick Theatre and Buffalo’s Larkin Building, which were razed to build a parking lot and a truck stop.
By reinventing the traditional bokashi technique, Hamanaka reminds us that nothing is dead, even when many proclaim otherwise.
The company’s mastery of the art market’s smoke and mirrors is its most impressive illusion.
Sadly, though by no means surprisingly, there is precedence for this female erasure. Women have been and continue to be the executors of the invisible, unpaid, unaccredited labor that makes much of the world run smoothly.