Humor, maybe, and Eva Hessehas that, too, as you can see from the cock-eyed leer the artist displays on the exhibition poster. If this show doesn’t make the “ten best ” lists for 2002, I’ll hang up my crystal ball. Check it out at SFMOMA February 2 - May 19, 2002.
In this age of electronic surveillance, here’s ten simple steps toward more secure surfing.
The Museum blames September 11-related budget troubles for icing the Film Stills Archive, but the move may be payback for Archive employees’ union activities.
What would these people do without us degenerate artists?
“Maintaining large image or movie files on a website can take a bite out of one’s budget.” Read about some projects and some workarounds.
Media critic Todd Gitlin’s new essay in Mother Jones Magazine is a powerful critique of the Blaming America First response many on the political left had to the events of 9/11.
Dokumenta 11 will not start until June 8 in Kassel, but is already up and running in the guise of “transparent research,” according to director Okwui Enwezor. German art writer Thomas Wagner is a little cranky about sharing Dokumenta with New Delhi, Lagos, and other cities.
something fun from England.
Losing the San Francisco International Art Expo would step up by several notches the difficulty of placing Bay Area art in important collections, so local gallerists gauged the opening crowds with nervousness. “Even if this isn’t a great fair in terms of business, it’s one of the stepping stones we have to go through to get back to normal,” remarked Ed Gilbert of Gallery Paule Anglim. But after a weekend of collecting crowds, Pam Paulson of Paulson Press was upbeat. “The fair is rocking!” she said, “People are spending money and it’s even better than last year.” Since the fair’s organizers spent most of their advertising budget promoting the original date (the show was postponed in the wake of September 11) a success this year promises even better things in the future.
at this year’s San Francisco International Art Expo pre-gala labor disputes had dissolved (SFAI decided to go non- union and got picketed) and the party was hopping. Not suprisingly, the West coast made a particularly strong showing, but also notable were Hong Kong and Korean galleries.
Take a tour of the public art projects on LA Metro’s Blue Line. Artists include Lynn Aldrich, Joe Sam, Terry Schoonhoven and many others.
coals to Newcastle or H2O to the Sahara? Doug Arrell argues the case for teaching artists to think about what they do.
“The content industry—especially Hollywood and the record labels—wants to place a copyright cop in your computer. It also wants to station one anyplace else on the Internet where an unauthorized copy might be made.” And if it doesn’t happen through upcoming legislation, it probably will through industry initiatives.
In his new book Origins of Genius: Darwinian Perspectives on Creativity, Dean Keith Simonton compares “genius” in art and science. His analysis is flawed but thought-provoking, says Dennis Dutton in this indepth review.
Howard Fried, instigator of some of the most provocative performances of Bay Area conceptual art, will give a rare overview of his work Thursday, January 10, at 7:15 pm in Annenberg Auditorium in the Cummings Art Building on the Stanford campus. It’s free; for more information call 650.725.0138.
David Ross is NOT on the short list to direct Britain’s National Gallery, but several other guys are. The SFMOMA board will sympathize with the National Gallery and other prestigious European museums having trouble filling their top positions.
At least one member of Congress is challenging the record and movie industry lobbies. Rep. Rick Boucher (D VA) is citing existing law (the Audio Home Recording Act) to challenge the music and movie industries from preventing legitimate purchasers from copying encrypted CD’s and DVD’s for personal use.
Or, the top ten internet scams? What does the number one search engine on the web list as the top ten of the “top ten 2001”?
With the wide-eyed hype of early dot-com mania resoundingly over, many of us are breathing a collective sigh of relief. In fact, as business gets back to normal, the creative future of the web looks especially bright as online arts and related projects continue to flourish. Read about the new work Driven by a Higher Calling, Not Dot-Com Dollars in this New York Times article. (free registration required)