Adele Enersen photographs her dozing daughter Mila in a variety of poses and scenes, often drawn from art history. The visual similarities between her homemade work and her sources is pretty cool, as is its relationship to art history. What other options for inspiration could Enersen pursue?
Gap definitely knows how to make it viral. The question is, was the Internet scandal caused by its new logo actually worth the publicity? When the historically consistent clothing brand switched the logo on its website from the old three-letters-in-a-square to the new monstrosity, the web reaction was immediate and decisive: the logo sucks. Not only does it suck on the level of the 2012 London Olympic Games logo, unlike London, the re-design doesn’t even have the balls to be interesting.
The logo isn’t anything revolutionary. At this point, a switch to Helvetica — or Corporate A Pro Demi Condensed, News Gothic Demi or whatever it is — is about the oldest trick in the book. But what’s more surprising is that the design doesn’t seem to have anything to redeem it at all. It’s a masterpiece of ambiguity.
Artist Maurizio Cattelan has unveiled his latest public art project in Milan. It’s titled “L.O.V.E.” (2010), it’s 13 ft tall, it’s made of marble, it’s a hand with a giant middle finger, and it’s placed in front of the Italian Stock Exchange. Poetic, right? Meh.
New York City Coucil has voted to allow Vornado Realty Trust from proceeding with a 1,216-foot skyscraper adjacent to Penn Station, and since this is New York not everyone is happy.
It does surprised me that the art market has been unregulated for so long. Considering there is government regulation in so many aspects of our lives, it’s interesting to see that the art world has been given the luxury of self-regulation (which means NO regulation). Well, New York Times blogger William D. Cohan thinks that should maybe end …
Up-and-coming street art critic RJ of Vandalog asks why the new poster campaign by Shepard Fairey’s Obey studio is so damn ugly, ok, he didn’t exactly say it that way (I’m paraphrasing) but he might as well have.
Since the Work of Art TV show began in the early summer many of us in the art world have been eager for William Powhida’s perspective on what some of us like to call the biggest waste of time this summer (though others use the term Work of Fart). And now he delivers and OMG is it awesome.
Today, we are launching our first Reactor podcast with a critical discussion of PS1’s Greater New York 2010 exhibition. Hosted by Hyperallergic editor Hrag Vartanian, the podcast features Paddy Johnson of Art Fag City, artist/critic William Powhida, as well as, Liza Eliano of Art Fag City, Holly Gover of Hyperallergic, and Warren King, who is currently interning with Powhida.
Brooklyn-based artist Peter Walsh has shot a short video that demonstrates the ridiculous nature of the new New York City law that has drastically reduced the number of artist spots in the city’s parks.
Robert Longo is the king of that detached world of 80s über-cool, though in retrospect the whole “movement” (if we can call it that) was nothing like its PR. Sure, one could be fooled into thinking that Longo’s corporate figures writhing out of control were comments on the culture of the time, perhaps even foreboding what was to come — Reaganomics, corporate avarice, an extreme form of alienation — but did we really think it would lead to advertisements for Bottega Veneta?
Sure, we know that art dealers can be shady (very shady, in fact) but this recent story about a lawsuit that has been filed against the owner of Chelsea’s Stendhal Gallery swindling two artists to pay off a $90,000 bill at Cipriani Downtown, is unbelievable — even by New York standards.
If you are reading this blogazine then you probably already know this to be true but we thought you’d like to know about this story on ReadWriteWeb:
A study released this month by the National Endowment for the Arts (NEA) found that people who engage with the arts through various digital media are three times more likely (59% over 21%) to attend live arts performances, and do so twice as often (6 events per year over 3) as non-media participants … the survey concluded that “media-based arts participation appears to encourage — rather than replace — live arts attendance.”