As the reality of Deitch’s appointment to MOCA sinks in, let’s take a step back and look at his role as a street art advocate. Was he the prophet for the scene or just one of many fans? And where could this all lead?
In my travels across New York City documenting street art and graffiti, I’m always excited when I stumble across full-blown illicit installations. While stenciling and wheatpasting continue to explode in popularity, it takes another level of commitment, chutzpah if you will, to pull off something more involved. Using salvaged or re-appropriated materials, NYC street artists are both piggybacking their pieces onto existing street furniture and brazenly installing work of their own.
When I went to visit some friends in Viña del Mar, Chile, my first thoughts weren’t about the famous beaches and coastline, but of the museums, if any, they might have in this sizeable resort town (population 286,931) that’s south of the famous port city of Valparaíso. I was thrilled to find that the town had several museums. Since this is a column on obscure (and by that I mean little-known and not necessarily dimly-lit or incomprehensible) museums, I’ll fill you in a bit on one that absolutely blew my mind.
It started in Paris during the second week of March. When New York-based artist and famed fashion photographer Terry Richardson ran into the Danish model Rie Rasmussen at a fashion event, he found himself confronted by the latter. According to Rasmussen, she accused him of abusing his power to exploit young models for his overtly sexual images, upon which Richardson fled the scene and later called her agency to complain. This in turn prompted Rasmussen to vent more publicly.
The town government of Suwanee, Georgia approved an ordinance which would ask all real estate developers to donate 1% of the budget of the building cost toward a public art project. The Atlanta Journal Constitution writes, “Where many struggling cities see public art as an extravagance these days, Suwanee, on firmer ground financially, sees it as a key to a prosperous future.”
If you walked into the backroom exhibition space at Pierogi you might be forgiven for thinking you had just walked into a children’s room decorated by Werner Herzog and John Waters, by which I mean it is a sordid, moody, desperate, joyous, and campy. No really.
Referencing prairie dogs and Mussolini, yesterday New Museum chief curator Richard Flood wound up his talk at the Portland Art Museum on “Creating Networks: The New Internationalism” with some bracing criticism of his own directed at online critique of his institution. Unlike the rest of his talk which very sharply traced American art world’s relationship with work by international artists 1980s to present from his vantage points at the Barbara Gladstone Gallery, Artforum, the Walker Art Center, the New Museum, his final comments were wildly out of touch with the ways we have conversations about art now.
I’m not sure exactly when I became aware of the High Line, but once you noticed it, it was hard to forget. There were giant graffiti pieces visible from street level and in the spring and summer you could see a ragged blaze of green sprouting from the otherwise lifeless tracks. I remember walking along Tenth and Eleventh Avenues — peering up at the hulking structure and wondering how I could get up there.
One of the most popular art feeds on Twitter right now doesn’t have a name or a face or a gender. It doesn’t represent an established arts institution or magazine, nor does it have any kind of credentials. And yet, less than a year since it started, it now boasts 10,000 followers.
The Xinhua News Agency is reporting that the Chinese authorities have ordered the National Museum of China to lay claim to the rest of the keyboard fearing that the acquisition of “@” by the Museum of Modern Art would lead to a flood of acquisitions by other American institutions. [SPOOF]
Ten years is a longtime for a web-based project and Newsgrist is celebrating a decade of existence this month.
I spoke with its creator Joy Garnett about her online project and how it has evolved since its inception. She assured me that, “after all these years [it] remains as close to my heart as ever.”
It was a cold, snowy and slushy night in SoHo when the Brucennial opened. People were long anticipating the Bruce High Quality Foundation’s latest project which appropriated the Whitney Museum’s branding, packed a storefront retail space on West Broadway with a truckload of art, and placed almost everything up for sale.