Reader: Jan 22, 2010

– Looking forward to experiencing the tragic comedies of Omer Fast at Postmasters and Whitney.

– China: “a land of vast creative possibility, where scale is virtually limitless and costs are comically low” where artists can “rent airy studios, hire assistants, experiment in costly mediums”. ahem. right. One artist “poured tea for his professors, carried their luggage and gave the right gifts. In exchange they gave me work and respect”. Rolling. My. Eyes.

– Hahaha, China Chow.

– I think I have no choice but to strive being a professional amateur. “The very classification ‘amateur’ has an apologetic ring. But that very word—from the Latin amator, ‘lover’—means one who does something for the love of the thing rather than for economic reasons or necessity…the amateur should make use of the one great advantage which all professionals envy him, namely, freedom—both artistic and physical.” -maya deren

– Notes on Boris Groys lecture by Tom Moody and AFC. He is sounding outdated.

– Winkleman on the Deitch MoCA debacle. Good thing I won’t be in LA anytime soon.

– Art Handling Olympics to launch in March. Hipster Olympics, interrupted.

Andrea Zittel interview about her floating island for 100 Acres Park. It unfortunately looks like a giant urinal.

Collaborative art collecting sounds like a great idea. The Collective is one such group. I want to do this too, who’s in? Is there anything like this in NY?

– Cute and ominous. They have many more videos worth watching.

Banksy’s film about the film, on Banksy.

– This is ingenious. Happy solitude. Thank you c-monster.

Tino Sehgal’s no photography rule only makes his performances more sexy, which is scary. I am not favoring it so far: “Unlike other performance artists, Sehgal has fully thought through the problem of trading in a non-object-based economy — you buy the “rights” to stage a Sehgal, certified in the presence of a notary public. The fact that his background is in economics often comes up in critical debates about Sehgal; he sees commodification as all-pervasive and inevitable, and his medium — performance — expresses his comfort with that fact, not a questioning of it: “The reason I don’t use solid materials or make copies is because I know that the thing-in-itself can be commodified.” This is an amazingly well written review.

– My master Yayoi Kusama’s Self-Obliteration. Picture these videos playing simultaneously on three screens that are touching each other at the edges.

Nicole: It’s you, me, Hrag.

1 Comment

Filed under Art, Reader

One response to “Reader: Jan 22, 2010

  1. LOL, Joann. You two definitely came to mind as I was writing that post.

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