View current page
...more recent posts
Correction to an earlier post, which read:
Should galleries not post documentation so people will get off their lazy butts and come to see actual work? Cory Arcangel also addresses this matter in a transcription of a recent talk he gave, but from the reverse vantage point--he describes work he's seen on the Internet to people sitting in "real space" without a computer as an audiovisual aid.A friend noted that I am *completely* wrong about this--Arcangel's text reads like a transcription but is actually anecdotal, semi-stream of consciousness writing about the internet, to be read on the internet, but where links are perversely not used. My friend found this annoyingly unhelpful but I defended it, as someone who has spent six years worrying about whether hyperlinks were broken and/or up to date--after a while you just want to say, "ah--google it yourself." It's possible I may still not be getting this text so any theories are welcome.
Update: I closed this thread but reopened it for some additional commentary that came via email.
Update 2: And then closed it again due to spam.
Paddy Johnson on new media commercial spaces in New York. This is the only interesting topic in the art world right now, since computers rule our world and non-new media art has devolved to the point where a player must be (a) gorgeous, (b) from Columbia University, and (c) painting large but tepid imitations of Umberto Boccioni. Johnson's list of galleries that matter (with intermittent zingers): Foxy Production, artMovingProjects, vertexList, Bryce Wolkowitz ("blinky light art"), bitforms ("shows a lot of crap"), Postmasters, Deitch Projects [(a) (b) and (c) above subsidize Paper Rad/Arcangel? my query, not Johnson's], Team ("founder...has a PhD in film studies"--not a zinger per se), LMAK Projects, and PaceWildenstein ("just kidding").
Related: bitforms vs vertexList clip and save comparison chart.
Such a deal!!!!!!!!
$1.29 for EMI songs on iTunes!!!!!!!
Just read about it in the New York Times. It is good that the artists are being compensated better.
[/sarcasm]