The partygoers entered the large, black fabric cave in single file, balancing their drinks in hand and squatting low in order to sit at the computer inside. They typed away, sharing stories about sleepless nights for “A Journal of Insomnia,” a cloud-based, digital art project produced by Hugues Sweeney, head of French-language interactive media at the National Film Board of Canada.
AUSTIN, Tex. — A few months ago, when Salon.com announced its search for a new culture editor (who would be based in New York City), a fan quickly snarked on Facebook that Gotham is passé; Austin is the new home of American culture.
The world is obsessed with the “biggest” or “smallest” of anything, so … this work of nano-cinema holds the Guinness World Records record for the “World’s Smallest Stop-Motion Film.”
The UK has passed a new act that has photographers and other creators worried about maintaining ownership of their images. The Enterprise and Regulatory Reform Act theoretically aims to make it easier for companies to publish orphan works, which are images and other content whose author or copyright can’t be identified. But whereas in the past, orphan works were often out-of-print books and historical unattributed photos, today millions of images are quickly orphaned online, as they move from Instagram to Twitter to Facebook to Tumblr without attribution along the way.
In my screed from a few weeks ago, “When Artspeak Masks Oppression,” I cited the Guggenheim-Emirates partnership as an instance of contemporary art’s institutional culture operating in service of authoritarianism. One of the examples I mentioned of the propagandistic character of this primarily linguistic process was the Dubai-based artist UBIK’s description of an installation of his called “Tahrir Square” (2011). I am glad to have been recently able to catch up with UBIK and hear his frank and often biting perspective on the climate for contemporary art production in the United Arab Emirates.
South African artist Jane Alexander has long worked with blurring the evolutionary line between humanity and animals, using anthropomorphic sculptures to respond to the dehumanizing nature of Apartheid. Yet with her work’s installation in the Cathedral of St. John the Divine, one of New York’s most hallowed spaces, this space between what is human and what is beast becomes even more interesting.
When I first made contact with Willie Cole it was to request that he submit a piece for an exhibition I curated, Art Enology. Here I was, a novice curator, reaching out to a living legend for an exhibition that was launching in a mere three months. I never expected him to say yes. I just wanted him to know that I existed, admired his work, and would hound him until he gave in to being part of one of my exhibitions.
PARIS — Organizing 236,000 square feet of exhibition space around one theme seems like an impossible task, as impossible as the coldness of the sun. However, since it was reborn in 2012 as Europe’s largest non-collecting art museum, the Palais de Tokyo in Paris has been focusing on exactly that: massive presentations of temporary group and solo exhibitions in its Place du Trocadéro space, all around a central theme, with the current being Soleil Froid (Cold Sun).