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It’s time once again to look at a particular metric of art-world success — Art Review‘s Power 100, which gets published annually to tell us just how many people place above us in the supposed pecking order. There still aren’t any bloggers on the list (though, to be fair, writers and editors aren’t allowed), but there are a handful of interesting facts from the 2012 list, which was posted this morning.
1. LA MOCA director Jeffrey Deitch doesn’t even place this year — ouch. Maybe it’s all the James Franco? He has slid from #12 in 2010 to #48 in 2011, and now off the list entirely.
2. Documenta curator Carolyn Christov-Bakargiev comes in #1 for her provocative, object-oriented exhibition. The last time a curator was #1 was in 2009, when Hans Ulrich Obrist won the prize. This year, he sneaks in at #10.
3. The embattled Russian art-punk band Pussy Riot comes in at #57 — right above Jeff Koons at #58. What kind of world are we living in!?
4. Chinese artist Ai Weiwei, South African curator RoseLee Goldberg, and Qatari collector Sheikha Al-Mayassa are the only three non-European or Americans in the top 25.
5. Curator Massimiliano Gioni is up a staggering 61 places from #80 last year to #19 in 2012, thanks in large part to his recent work at the New Museum including the excellent Ghosts in the Machine.
6. Eli and Edythe Broad seem to be in a slow slide from grace — following their Los Angeles MOCA antics, they’ve fallen to #26 in 2012, from #17 in 2011, #8 in 2010, and #7 in 2009.
7. Three artists, Ai Weiwei, Gerhard Richter, and Cindy Sherman, are in the top 25, as opposed to 5 last year, with the addition of Mike Kelley and Marina Abramović.
8. Pro-Occupy (though judging by what he said at the 2012 Creative Time Summit we’re not sure) philosopher Slavoj Zizek comes in at a respectable #65.
9. The publishing artist collective e-flux is down to #12 from #5, but they receive heaps of praise for applying to own the .art web suffix. They’re a “hugely entrepreneurial collective,” which could loosely be translated as “making a lot of money online.”
10. Damien Hirst hasn’t been in the top 10 since he placed #1 in 2008. This year, he nets #41. 🙁
Stay tuned for Hyperallergic’s annual Powerless 20.
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
What is the relation between possessing a person, possessing their image, and dispossessing their progeny
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
Two K-12 art teachers will each receive a $1,000 cash gift and an additional $500 to put toward classroom art supplies. Nominations are due October 31.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.
We cannot be indifferent to the long-lasting effects of photography. The photographs at the center of Lanier v. Harvard are relentless in making Renty and Delia Taylor work and perform as slaves. The pain inflicted on them has not ceased. Photography has the capacity to propagate harm, and we have the moral obligation to interrupt…