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New York critic Ben Davis has penned a provocative slideshow essay over on Slate that includes the poignant tagline: “Banksy’s Exit Through the Gift Shop is a poisoned valentine to the movement he made famous.”
I’m happy to see more contemporary art critics grappling with the ideas and contradictions of street art, which is a movement dominated (or suffocated, based on your perception) by fanboys who have no interest in being critical of their beloved art form. At the end of the day, street art has become just another aspect of contemporary art practice — though you wouldn’t know that by visiting this year’s Whitney Biennial.
The money shot:
Gallery art focuses, ultimately, on selling status symbols to rich people, but for this very reason it tends to maintain a certain distance from corporate design. Street art is hostile to established commercial art channels, but has been altogether more comfortable moving in and out of mass commercial culture.
Full disclosure: I’m quoted in the piece.
This week, the scourge of immersive exhibitions, the popularity of anti-vax deathbed videos, the pregnant man emoji, Chomsky on Afghanistan, Met Gala commentary, and more.
It seems like we broke the ice to a growing consciousness that the status quo isn’t going to work.
Over 50 years of the artist’s video and media work on how images, sound, and cultural iconography inform representation is on view through December 30.
Nate Chastain, OpenSea’s head of product, was ousted on Twitter by a user who posted questionable transactions from his wallet.
The 40-year relationship that unfolded between Toklas and Stein became the bedrock of Paris’s artistic avant-garde.
Over the course of three months, the resident artists in Going to the Meadow will collaborate and create with a curated set of continually changing materials.
Fifty works, all created by women, are brought together across time and media as the Norton Museum of Art reckons with the art world’s patriarchal past and present.