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This week, essays and reviews on Occupy and criticism, British Modernism, Herzog’s Biennial piece, The Art Newspaper misses the point in Russia, New York’s design community is strong, a Triennial review and a look at representations of violence.
The current essay series invites critics to address “what many have described as a crisis for the state of art criticism” in the past decade, a period in which the authority of an academic venue such as October has allegedly declined due to a “combination of political and economic shifts, technological advances, and, perhaps, a fatigue with ‘theory.’ ”
Modernism is a strange artistic formation. In it, time and again, originality — which remains anachronistically the goal — lies on the other side of subservience. There is no such thing, it turns out in practice, as well-tempered learning in modernism, reasonable apprenticeship, picking and choosing the imitable. And this is a problem particularly for a genteel art culture — for a culture like England’s, whose arrogance over the past century has been most powerfully manifest in its false moderacy.
Get a grip, people. Art doesn’t need all these bells and whistles. The whole score reads like a device to support the footage, a crutch that wouldn’t be necessary if the original work were simply hung.
They’re not artists. The biker types who wear these shirts are from the Union of Orthodox Banner Bearers of extreme Christian monarchist picketers. Here’s some photos of them hanging out in the forest conducting mock executions by shooting bows and arrows at pictures of gay dudes. Classy.
In 2010, 4,278 designers and architects graduated from New York schools, while only 1,759 in LA, 1,552 in Chicago, 1,343 in San Francisco and 1,128 in Boston. And 20% of the students at New York design and architecture schools are foreign students, which is very high compared to the national average of 11%.
” … a tidy, clean, professional-looking affair, much less rowdy than the average international biennial, and despite an admirable number of far-flung return addresses, much of it seems almost domesticated by the rigid floor plan of the New Museum itself.”
The oscillations between flippant references to video gaming and worries about such comparisons are puzzling, but they also reflect the schizophrenic nature of not only conducting war from a distance, but also of being trained by the same video game technology from which soldiers attempt to instill a measure of distance.
Required Reading is published every Sunday morning EST, and it is comprised of a short list of art-related links to long-form articles, videos, blog posts or photo essays worth a second look.
Walt Disney built his media empire animating fairy tales; he did not start making films set in a Nazi-occupied Europe by choice.
The Eyes of Tammy Faye features a riveting performance from Jessica Chastain, but proves less interesting than the documentary it’s based on.
In The Contest of the Fruits, the art collective Slavs and Tatars investigates language, politics, religion, humor, resilience, and resistance in a pluralistic world.
Rafał Milach sharply documents three international border walls and how they impact our sense of identity and memory.
Protesters splashed paint on the entryway of the Museum of Modern Art in Midtown, Manhattan.
Seven artists and curators, including Dona Nelson, the featured artist for this year’s Tim Hamill Visiting Artist Lecture, are giving public talks at BU School of Visual Arts.