This week, David Bowie’s style as a GIF, Sean Penn and El Chapo, wealthy artists and grants, MOCA’s new permanent collection installation, and more.
At 55 years old, I’ve never learned to use a laptop. Do they still make laptops? No fucking idea! It’s 4:00 in the afternoon.
But isn’t this exactly what Warhol’s Interview magazine all about? Celebrities interviewing celebrities? Barf.
“Shannon, did you know that [award winner] David Shields is in a movie with James Franco bragging about making $200,000 a year?”
“Oh, no, you’re kidding,” Halberstadt said. “Oh, that’s not good.”
We laughed, and then started serious-talking.
It turns out that neither Halberstadt nor Birnie Danzker knew how much money Shields made. They hadn’t seen the movie or read the book it was based on. (Paul Constant documented Shields’s forthcomingness about his $200,000 yearly income from his endowed writing professorship at the University of Washington plus other gigs, and last month explained precisely why funders should “Stop giving cash awards to David Shields.” Hint: For the love of god, he doesn’t need them.)
Between May 15 and June 12, the square became a site of collective creativity. One of the main activities involved the continuous production of self-made banners and placards. Exhibited in the square, they contributed to the reclaiming and re-symbolising of the space. Although banner-making took place all around the square, a Graphic and Visual Arts Committee worked systematically to create banners and other symbolic elements for display.
Occasionally, the casual sexism that pokes through Hickey’s prose makes him look less like the art world’s enfant terrible than its dirty old uncle. Epithets like “haughty Southern bitch” and “surfer slut,” applied to the renowned postminimalist sculptor Lynda Benglis and the abstract painter Mary Heilmann, respectively, stand out as lame misfires in otherwise rigorous, thoughtful essays. (Compliments to whoever had the good sense to nix the book’s working title, “Hot Chicks.”)
The author claims there is “no agenda” behind “25 Women.” But Hickey’s mulligan stew of autobiographical memoir and intellectual jazz is an attempt to reappropriate feminism from “academic feminists” who value art as a weapon of consciousness-raising and social critique. Identity politics are conspicuously absent from the book. In their place, he introduces his own menagerie of sacred cows and privileged terms: sophistication, worldliness, cosmopolitanism and abstraction.
“This historical story that we tell, it begins with this idea that New York stole the art world after World War II, and that there’s a certain kind of Modernist described by critic Clement Greenberg and everything proceeds apace,” Molesworth says. “For many, many years, we were very comfortable with that story. But then, as a result of the civil rights movement, the women’s movement, gay liberation, the fall of the Berlin Wall in 1989, the rocking of our geopolitical boundaries and the rise of the Internet, we come to realize that the story we used to tell doesn’t begin to encompass the fullness of the world as we know it.”
— Bertram Fiddle – Victorian Explorator (@BertramFiddle) January 7, 2016
Singular “they,” the gender-neutral pronoun, has been named the Word of the Year by a crowd of over 200 linguists at the American Dialect Society’s annual meeting in Washington, D.C. on Friday evening.
Pixação is also about visibility, particularly the kind that can only be achieved through daring acts of courage. In its most basic form, rolê de chão or “pavement cruising”, the targets are walls and the risk is relatively low – although it is still a criminal offence that carries a potential prison sentence.
… This hostile relationship is ingrained in the very language of pixação. For instance, pixadores never use the term “paint” or “spray”. Instead, they prefer “arrebentar”, “detonar” or “escancarar” (“smash”, “blow-up” and “destroy”). Some typical pixador monikers translate as “shock”, “neurosis”, “death”, “scare”, “nightmare”, “danger” and “nocturnal attack”.
This anger towards the city is much more than teenage bravado or youthful rage. It is rooted in a sense of social injustice that is intrinsically connected with the pattern of uneven urbanisation that began in the 1940s and continues today. Seeking to remake São Paulo into a modern city, elite reformers and boosters of the 1940s and 50s embarked on ambitious urban renewal projects. In addition to infrastructural improvements, a street widening programme, the construction of a massive urban park (Parque Ibirapuera) and other beautification projects, the main feature of São Paulo’s urban renewal was its modernist skyscrapers.
Works by the Abeyta family of artists encourage thinking beyond activism and legislation as a means for political progress.
Despite faithfully recreating the story of the beloved comic book series, the TV show lacks the verve of the original.
The Brooklyn organization is now accepting new project inquiries for its fee-based fabrication services in printmaking, ceramics, and large-scale public art.
A video showing insects crawling inside a framed photograph by artists Bernd and Hilla Becher caused uproar, and disgust, online.
Actor Al Pacino is co-producing the upcoming movie about the tortured Italian artist.
The Newark Museum of Art Presents Jazz Greats: Classic Photographs from the Bank of America Collection
Photographers Antony Armstrong Jones, Milt Hinton, Chuck Stewart, Barbara Morgan, and more capture a breadth of legendary and local musicians and performance artists. On view through August 21.
Women at War exposes the struggles that women of Eastern Europe have been undergoing for the last 60 years, in addition to the annihilation of Ukrainian heritage.
Major publishing houses, and some authors, accuse the open access platform of “piracy” and copyright infringement.
Art and photographs, publications from the 19th and 20th centuries, manuscripts, posters and more are set to cross the auction block on August 18.
The Roman-era burial ground is located in Anazarbus (modern Anavarza) in the country’s southern Adana province.
Those with a Didion-shaped hole in their hearts can also bid for portraits of the author, her books, and other personal items.
The union seeks a minimum wage of $20 by the end of 2024; the museum offered only $16.