Wednesday, September 22, 2010

The Gagosian Museum, John Cage on TV, Seth Price, etc. [Collected]

Jana Leo performing "Some Like It Cold" at Invisible-Exports, New York, on September 18, 2010. Photo: 16 Miles [more]
  • Edward Winkleman points out that reviews of the (universally reviled) Dan Colen show at Gagosian have treated the gallery like a museum. The Monet, Manzoni, and Picasso shows were great, but Winkleman reminds us, "It's a private business." [Edward Winkleman]

  • John Cage performs Water Walk (1959) on I've Got a Secret in 1960. "If you are amused, you may laugh," the host, Gary Moore tells the audience. "If you like it, you may buy the recording." [Strange Messenger]
  • Seth Price's N.Y. Sorrow (2001), a helicopter ride in the air above Manhattan, before the September 11th terrorist attacks. [Rhizome]
  • Berlin–based artist Nina Beier (who had great work at Murray Guy last year) discusses her new show at London's Laura Bartlett Gallery: "I have repeatedly come across a Lewis Carroll story about a country that, after several attempts at making an accurate map, makes a map the size of the country itself. But when using it, the citizens run into a number of problems and, following complaints from the farmers who argue that using the map would harm crops, they decide to use the country itself as its own map, a solution they conclude is nearly as good." [Artforum]
  • Peter Schjeldahl, 2008: "I don’t believe in the existence of the Incredibly Stupid Viewer. I think the ISV was the projection of contemporary theorists who thought that very simple things had to be explained to people–the graphic female nude represents male patriarchy or museums represent economic and social power. I mean, duh." [MSPMag]
  • Havana in the '60s: The photographs of Jose A. Figueroa. Yes! [C-Monster]
  • "Touche Boucher" — Dave Hickey on John Wesley, 2000: "Wesley’s paintings always locate the source of our levity and good humor in the fact of what we love and present it to us refined and intensified. So this conclusion is inevitable: If ornament is crime, John Wesley is a master criminal, but if love is wrong, I don’t want to be right. [Fredericks & Freiser]

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