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Required Reading

Sou Fujimoto's Serpentine Pavilion in London has finally been revealed. There are also great photos over at Dezeen. (photos via inhabitat.com)
Sou Fujimoto’s new airy Serpentine Pavilion in London has finally been revealed. There are also great photos over at Dezeen. (photos via inhabitat.com)

This week, Fujimoto’s Serpentine Pavilion is unveiled, expect more Flavins in the world, David Foster Wallace on a crisis in America, unpaid internships and privilege, Peter Zumthor’s proposal for LA, book covers as gendered spaces, the Hirshhorn Museum’s bubble pops, and more.

 Al Jazeera asks what is driving global art sales:

 Did you think there were too few works by Minimalist artist Dan Flavin in the world? Don’t worry because the artist’s foundation has lifted their ban on posthumous production of the artist’s work. Why is that, you may ask? Oh, right, $$$$$$ … Julia Halpern report$ for The Art New$paper:

” … the artist left behind more than 1,000 unrealised sculptures when he died in 1996. If produced, these could be worth tens (if not hundreds) of millions of dollars. … Since lifting the ban on posthumous editions, the estate has sold more than 20 of these works.”

 The New York Review of Books interviewed author David Foster Wallace, who was always one to set off alarm bells about the state of America:

Either American voters will figure out that there need to be some counterbalances to corporate and capitalist forces, and that balance can be achieved through political process. Or we may very well end up here with a form of fascism. Many people in America throw the term “fascism” around, particularly for Middle-Eastern terrorists, but in fact what fascism really is is a close alliance between a unitary executive and a state and large corporations and a state.

 A new exhibition in Hong Kong is rewriting the official history of Chinese art during the Cultural Revolution:

Light Before Dawn: Unofficial Chinese Art 1974 to 1985 is an unusual exhibition which brings together the works of 22 Chinese artists who quietly banded together during a repressive time. These artists shared techniques and forged a solidarity that helped them to outfox the authorities. Their art was a rebellion against “the pattern of brutality, narrow-mindedness, hypocrisy, and irrationality” institutionalised during the Cultural Revolution, write Julia Andrews and Kuiyi Shen, the show’s curators, in a moving forward to the catalogue.

 Here at Hyperallergic we’ve always been vocal critics of unpaid internships and now someone at the Guardian says they are ruining journalism by turning the media industry into a “culture of privilege“:

Recently, I wrote about how stories of crime in New Orleans or Chicago’s Southside are under-reported on the national level, and one of the reasons is the fact that voices from these areas aren’t making it to the national conversation to influence the direction of national discourse. Media workplaces are becoming populated by those who can afford the jobs. Those who can’t are being shut out.

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 Architect magazine reports on Peter Zumthor plans (pictured above) for the Los Angeles County Museum of Art (LACMA) which was unveiled last week in the form of a six-ton concrete model to demonstrate his design — it looks like a big black blob. His plan calls for the “razing of a clutch of buildings on the east side of the LACMA campus, including a trio of modernist pavilions built by LA architect William Pereira for the museum’s opening in 1965.” LACMA director Michael Govan says “it’s an opportunity to completely reconceive the idea of an encyclopedic museum.” I’ll believe it when I see it.

 An interesting discussion by Tristan Bridges of book covers as gendered spaces:

Book covers are gendered spaces.  Not only authors names (one reason I’ve always been fond of using first initials rather than first names), but the colors, designs, scripts, and more are deeply gendered symbols.

… While girls and women seem able to transgress gendered reading boundaries, Johnson suggests boys and men are much less likely to do so.

 Every wonder why fashion designers don’t use older models? It appears that A-list designers like Miuccia Prada are scared to rock the boat, according to an interview that appeared in T magazine and was highlighted by The Gloss:

“So why not use older models sometimes?” I asked.
“Mine is not an artistic world, it is a commercial world. I cannot change the rules.” [Prada said.]
“But you change the rules,” I said. “If you put an old lady on the runway, other people would do it too.”
She laughed. In that light her eyes were green; before I asked the question they were brown. “Let’s say I’m not brave enough. I don’t have the courage.”

 It’s official. The Smithsonian has killed the Hirshhorn Museum’s 150-foot tall “Bubble” project by Diller Scofidio & Renfro “citing financial uncertainties as the reason for the decision.”

 Chinese dissident artist Ai Weiwei has designed the new cover of Time magazine. “The cover itself is by Ai Weiwei, who did it from his studio in Beijing,” Time‘s managing editor Rick Stengel explains, “where he’s basically moored because he’s on trial with the government. It’s a paper cut. It’s an ancient Chinese technique of paper cutting, and the flowers represent happiness and prosperity, and that’s in the shape of China. That emanates from the spot on the globe where China is.”

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 Ever wonder what it would be like if Cosmopolitan magazine was a Marxist publication? No need to image it because there’s a tumblelog for that now. h/t @petitemaoiste

 And what if every news sites worked like Buzzfeed?

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.

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