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This week, we start with a number of items that have appeared in response to Hyperallergic posts over the last two weeks.
What the show makes clear after you have assessed the data and identified some problems, we are left still looking for ways to prompt action through provocation, debate, discussion in hopes that enough people might arrive at some tentative agreement to work towards solutions. This is why I think the show may leave you less than satisfied, because while the problems may seem self-evident, the established art world carries on if they aren’t.
UPDATE: In the comments of her post, Wetzler has responded to Powhida’s “Dear Rachel Wetzler” letter, it begins with a little disappointment:
Though I’m admittedly disappointed that I didn’t get a trademark Powhida skewering, I genuinely appreciate your response. Ideally, the purpose of criticism is to open up a dialogue, not to just throw down a definitive verdict about a show or a work of art …
Since we’re on the topic of Wetzler’s review, I want to take this opportunity to point out the post received the best comment we’ve been privileged to have on Hyperallergic in a quite while. It was submitted by Wat Tyler and starts with a quote from the post:
“a sense of anxiety or anger about the artists’ own marginalization and lack of mainstream success.”
You just described my life. I’m even bitter that I wasn’t invited to be in this exhibition, despite the fact that the organisers have never heard of me, and that I wouldn’t have accepted anyway, because I hate the art world so much.
If there’s a reason for using a “democratic” medium only to elite-ify it for a select person I’d like to hear it.
Bishop’s paintings have much more in common with the work of a later generation of artists, who found in the post-modernism of the sixties and seventies the possibility of new ways of returning to figurative art … Bishop enjoyed being innovative and invisible at the same time. As a painter, she discovered in the limited range of her skills an intrinsic value. To see it made it so. Meyer Shapiro, the distinguished art critic, said she “writes poems with a painter’s eye.”
If his pictures could, in some cases, be illustrations for [T.S.] Eliot’s poetry, the poetry itself often sounds like an approximation of Kitaj’s brushwork …
Street artists like Banksy, Invader, and Neckface are prefigured by Situationists like René Viénet and Guy Debord who saw interventionism as a purely political act meant to confront and subvert the stultifying, commercialized metropolis. This was in the late 1960s in France, when the stakes were high and the avant-garde in Europe was healthy. Since then, those strategies have become an open source playbook for anyone, from advertisers to narcissistic urchins to legitimate artists, to use as a guide for colonizing one’s consciousness. And by the looks of the 2011 cityscape, they all have.
Required Reading is published every Sunday morning at 7am-ish EST, and it is comprised of a short list of art-related links (10 or less) to long-form articles, videos, blog posts or photo essays worth a second look.
In a world delighted and entertained by displays of material excess, Diane Simpson shows that there is another possibility.
The animal carcass sculptures are gruesome yet their materials — the artist’s own discarded clothing — lend them some gentleness.
View work by over 40 experimental artists and collectives from throughout the Americas who contributed to New York’s art scene during the 1960s and ’70s.
Mr. Bernatowicz, in your introductory text you talk about the need for honesty, the disease of hypocrisy, overreaching governments. You do not fulfill a single one of your own ideals.
The biggest problem with turning Dune into a film is that the book appears increasingly derivative of generic sci-fi tropes.
This exhibition explores how images of the human body were used to provoke profound physical and emotional responses in viewers from the 15th through 18th centuries.
Ed Roberson’s motorcycle ride from Pittsburgh to the Pacific is a quest-romance, an exploration of American culture and American mythology.
The collaborative handmade paper- and printmaking center at the Pennsylvania Academy of the Fine Arts publishes new works by Liz Collins and Sarah McEneaney.
The legendary performer amassed a collection of about 10,000 rare books, posters, and artwork about all things esoteric.
The proceeds will benefit the BDC’s community-centered initiatives and exhibitions.