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New York Magazine‘s senior art critic has started filing video reports from art events. And on Friday he posted a segment from Brooklyn Museum’s “food art” gala created by “food artist” Jennifer Rubell. Her description of the event is priceless:
It’s an evening, it’s a meal, it’s a kind of performance installation and the idea that as a participant you are forced into that kind of engagement in order to do something very specific which is have a meal. So, you are not allowed to have the usual passive interaction you usually have with art.
So, art is passive? Is she living in the 19th C.? Let’s think of things that contradict her, ummm … the history of performance art, happenings in the 60s, the current Marina Abramović solo show at the MoMA. And then this doozy:
First of all there’s no instruction and there’s no servant.
Wow, so you mean … like the buffet at Denny’s? Is it really radical not to have a servant at a buffet? I don’t know why but I have an overwhelming urge to link to an article we pointed out a little while ago, Leon Neyfakh’s “Bullshit Artists.”
Josué Rojas came from El Salvador as a toddler, and his family settled in the Mission.
For a fleeting few hours, a procession of boats on the Grand Canal reenacted the full pomp and pageantry of 15th-century Venice.
The intricate patterns and strategic colors of the linens used on mummified remains have only begun to be understood by humanists, museum specialists, and chemists working together.
With films touching on protest in France, China’s one-child policy, and Indigenous life in Canada, the 2021 Currents program stays both culturally and politically forward-thinking.
In The Contest of the Fruits, the art collective Slavs and Tatars investigates language, politics, religion, humor, resilience, and resistance in a pluralistic world.