Dive into the archives.
- Gary Indiana and the Five Percent Paradox
This is so important, I can’t believe I didn’t post it earlier.
- Gary Indiana on Andy Warhol
Read Gary Indiana’s essay on Andy Warhol — surely one of the best things ever written about Warhol — here.
- Thank You, 3am
3am Magazine has named Disorientations “Nonfiction Book of the Year.”
- Apollinaire for the digital age
The first review (that I’m aware of) of Disorientations has been published.
Thank you, John Holten and Dogmatika.
- The Art World
There’s been a lot of talk lately about “the art world.” The art world is in trouble. This is what the future of the art world will look like. I spent a week in the art world and lived to tell the tale.
In pondering the fate of “the art world” amidst the global economic crisis, [...]
- Barry Schwabsky
Barry Schwabsky on the art world:
At a time when art still makes headlines mostly for the absurd prices people are willing to pay for it, it may sound surprising to say that the ethic of the art world entails a deep ambivalence about its financial basis–the “umbilical cord of gold” that, as Clement Greenberg once [...]
- London Book Launch: November 2nd
See you there!
- 3 Reasons Why Art Writing Still Earns a Bad Name
You can read my short essay on said topic in the latest issue of Dazed & Confused. It’s pretty much a condensation of my thesis in Disorientations: Art on the Margins of the “Contemporary”.
- Olafur Eliasson’s Reading List
While I agree that Olafur Eliasson’s upcoming professorship at the Universität der Künste in Berlin is a good thing, I don’t know that it’s the revolutionary event that Christy Lange at Frieze makes it out to be.
Looking at the reading list that Eliasson provides in the article linked above, I noticed that there is [...]
- The Critic as Avant-Garde Artist
I have to say that I’m a lot more interested now in the prospect of reading Boris Groys’s new book Art Power than I was before reading Brian Dillon’s review of it in the latest issue of Frieze. According to Dillon, Groys argues, among other things, that art criticism “is not necessarily written to [...]
