There’s been much talk in the art world during the past decade about the rise of the curator as artist, a figure who in her or his most overweening moments seeks to render artist and artwork secondary to the vision — or, at worst, predetermined program — for a particular exhibition. MFAs in curatorial studies are proliferating, and celebrity curators have become as powerful, influential, and famous as artists always have been, as collectors have become, and as critics once were. However fashionable of late, the curator as artist existed decades earlier in the figure of Harald Szeemann, partly as a result of his radical approach to Documenta 5 in 1972, where he initiated a multi- and inter-disciplinary format that continues to this day.
After last week’s post on Phyllida Barlow’s solo turn on the fourth floor of the New Museum, it seemed apropos to mention the exhibition one flight down, which is devoted to one of her better-known students from London’s Slade School, Tacita Dean: Five Americans.
LA MOCA has fired Paul Schimmel Paul Schimmel quits LA MOCA? (according to Jeffrey Deitch), LACMA is reducing its hours and cutting staff, and the Getty cut jobs last month. Pull yourself together, LA!
A significant figure in the development of Pop Art and the Soho gallery scene, Ivan Karp is dead. He died at his home in Charlotteville, New York, on Thursday, June 27 at the age of 86.
Much has been said and speculated about the US arts building boom in the late ’90s/early aughts, with expansions, renovations and new starchitect-designed buildings practically rampant among arts institutions. But what were the actual results and costs of all these projects? Were they successful? Researchers at the University of Chicago’s Cultural Policy Center set out to answer these questions.
Last week I got an email advertising a collaboration between Shepard Fairey’s apparel company OBEY and the Keith Haring Foundation, resulting in T-shirts, tank tops and baseball hats — including one with an unsettling combination of Haring’s three-eyed face and Fairey’s OBEY graphic — sold at mall hipster-mecca Urban Outfitters. This was enough to make begin questioning the Keith Haring Foundation’s treatment of the artist’s legacy — and then I heard about the Tenga x Keith Haring sex toys.
Although phallic forms in public space is nothing new, the documentation of the public interaction with them is newly available online, and hilarious.
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By definition, performance art is transitory. It’s sometimes spontaneous. It’s often interactive. And it’s always an experience. It isn’t, however, a tangible object like, say, a painting, sculpture or even a string of musical chords on paper. And so, we’re left with a perplexing question: can performance art ever be bought? In other words, is it possible for a piece to be “owned” by anyone other than the artist once the performance is over? For some clarity, we turned to a group of performance artists, art festival and collective leaders, and curators …
After a decade of being graffiti free, one legendary spot on the Brooklyn Bridge gets hit.
Yesterday, artist Odd Nerdrum lost his appeal in Norwegian courts this week and, in a strange twist of fate, he will receive an even longer jail sentence than the one he was appealing.
The town of Basel, located on a bendy segment of the River Rhein, is where France, Germany and Switzerland meet. Basel is not the place to go if you are on a budget; if you have to ask the price of a wiener and a pint, you probably can’t afford it. Each year in June the art world power elite comes together for a mutual admiration lovefest of cash and culture. Art Basel is the most highly selective and best-run art fair in the world. It shouldn’t be any surprise that the Swiss are ideal art-fair organizers.