Are you an artist or arts professional with a burning question you’d like answered? Here’s your chance.
Life in New York is shaped by relationship to property.
“I’m getting tired of watching my friends leave because they can’t afford to be here. I’m getting tired of contemplating moving because I can’t afford to be here.” Thus spoke Paddy Johnson, editor-in-chief of Art F City, in her opening remarks at a meeting in Bushwick on Thursday night. The event was held at Starr Space, the studio and occasional event space owned by artist Jules de Balincourt, and hosted by him, Johnson, and artists William Powhida and Lynn Sullivan. Mobilizing Bushwick, as it was called, or #stayinbushwick, as it’s been hashtagged, was an open, town-hall-style meeting to brainstorm ideas for, well, staying in Bushwick.
In the world of art blogs the economic models are few and most have yet to be proven, but Art F City (AFC) is trying something new through a booth at this year’s Nada New York art fair, where the Brooklyn-based site and fellow Nectar Ad cohort has decided to try their hand at selling art.
At one point, Arts & Labor member Blithe Riley, who was in the audience at the round table, made a comment about “freaking out a little.” This highlighted the disconnect between the political and social aspirations of Arts & Labor and the general role of art critics for me.
Last Thursday night at Housing Works Bookstore, Occupy Wall Street affinity group Arts & Labor organized a panel of New York art writers to discuss the labor of art criticism. Village Voice and New York Times critic Martha Schwendener opened the round table with the question, “What is the labor of writing?” Schwendener and Arts and Labor proposed a discussion about the working conditions of art criticism in an effort to dispel some prevailing myths, which she framed as power, authority, and allure. She then started things off with an open question to the panel about how they became art critics.
PARIS — In a recent article on AFC, Paddy Johnson argues that Werner Herzog’s piece in this year’s Whitney Biennial is essentially a throwaway. She sees Herzog’s contribution as a quick fix for inclusion that relies mainly on “bells and whistles” rather than substance. But her account is conspicuously reactionary and seems to be more of a response to the glowing reviews of the art writers she quotes than to Herzog’s work itself.
Tonight’s event will take place at Pivotal Labs near Manhattan’s Union Square starting at 7pm EST and (luck you) it will be livestreamed at artstechmeetup.com.
This week’s Required Reading includes Tracey Emin’s gift to 10 Downing St, you too can levitate in photos, Koons as roadkill, Nike’s swoosh is 40, internet art bubble, evolution of the hipster, autobot aethetics, street art in East Timor & more.
My latest thoughts on the evolving discussion about the use of social media in art and where it should (in my opinion) go.
Critic Paddy Johnson just penned a column for L Magazine about something she terms “Twitter art,” by which she means (I assume) art that uses Twitter. I often enjoy her take on new media but in regards to her treatment of Twitter-related art, I think she misses the mark. Here’s why.
Starting Wednesday, July 6, Hyperallergic will be heading to the land of Creoles and Cajuns for two weeks by Lake Pontchartrain. During the period, we’ll be handing over the reigns of the publication to veteran blogger John D’Addario. You’re in for a treat!