#perfect heir to mess pipeline | Explore Tumblr Posts and Blogs

nofomoartworld · 7 years

Text

Hyperallergic: Required Reading

The US Department of Interior announced on Twitter that this was their most popular image of the week. It’s a sunset in Zion National Park in Utah and it was taken by Shay Blechynden. (via @interior)

Want to know why the Peggy Guggenheim Collection ended up in Venice? Well, this concise history is very helpful:

Venice promised Peggy a more civilised welcome and, after much house-hunting, she found a vacant palazzo on the eastern stretch of the Grand Canal. It was a curiously proportioned building, very wide but only one storey high. The Venier family, who had commissioned it in the mid-18th century, had imagined it rising to a monumental five storeys, but ran out of money (and male heirs). Locals derisively nicknamed it the Unfinished Palazzo, but for Peggy, who was living alone with her dogs and her art, it was the perfect size.

She remained there for the remaining 30 years of her life and, during the summer, opened it up to the public. It was an eccentrically informal arrangement, with Peggy’s collection mixed into the muddle of her domestic life. Guests staying at the palazzo would find eager art tourists wandering into their bedrooms and (given the lack of toilet facilities) catch them peeing discreetly in the garden. But over time, the Venier palazzo became one of Venice’s major attractions, and a spur to the city’s development as an international showcase for contemporary art.

Jessica Lynne speaks with the curators behind the Brooklyn Museum’s landmark We Wanted A Revolution: Black Radical Women 1965–85 exhibition:

Jessica Lynne: This exhibition has been a few years in the making. Could you talk about the impetus of the project and why it was vital for the show to exist within the museum’s series A Year of Yes: Reimagining Feminism at the Brooklyn Museum?

Catherine Morris: Several years ago, we started thinking about how the projects we were focusing on pushed against historical orthodoxies, and about second wave feminism, which is the foundation of the Sackler Center. What are the stories that aren’t told? It came down to an exercise of revising revisionism. Revisionist history is one of the most important contributions feminist theorizing has made to the history of art, but it was time to turn that method on itself. We Wanted a Revolution captures that spirit.

Rujeko Hockley: Exactly. A lot of We Wanted a Revolution came out of my work in graduate school and the work I had done about women of color and black feminism outside of the art world. There is an institutional history here vis-à-vis the museum’s community gallery, a space that existed from 1968 to ’86 which was a problematic space in some ways. And a lot of the work in the show is part of the Brooklyn Museum’s collection, including a Black Arts Movement collection of work acquired by the museum in 2012. We are building on institutional history and bringing out stories that we ourselves didn’t necessarily know that well.

Andrew Russeth writes about the awful Damien Hirst show that opened in Venice. I don’t think this is anywhere close to the worst exhibition of contemporary art in the past decade, but it’s fun to read:

Damien Hirst’s doubleheader in Venice is undoubtedly one of the worst exhibitions of contemporary art staged in the past decade. It is devoid of ideas, aesthetically bland, and ultimately snooze-inducing—which, one has to concede, is a kind of achievement for a show with work that has taken ten years and untold millions of dollars to create.

This should have been a triumph. Hirst loves a grand occasion, and the prospect of taking over collector François Pinault’s palatial spaces in the Most Serene Republic, the Palazzo Grassi and the Punta della Dogana, would seem like a once-in-a-lifetime opportunity to let it rip. I was looking forward to an extravagant bit of Hirst nihilism, betting that the artist could at least deliver something so truly bad that it would be delightfully good. Instead, Hirst choked. It is bad show, and a depressing one.

What’s Santa Fe like for art dealers? Art Market Monitor talks to dealers Mike Tansey and Barry Ellsworth about a scene that has always been one of the main art markets in the US (the city has 200 galleries, for instance):

John Oliver on the importance of Net Neutrality is so good. Please watch:

Related: gofccyourself.com

Why are there still so many Confederate monuments?

It will come as little surprise that the greatest number of these sites are in the states of the Confederacy, and to a lesser extent in border states. Nor is this a case of the Deep South being somehow behind the times, as opposed to their more forward-thinking neighbors. In fact, the upper South is dotted with rebel symbols. The greatest collection is in Virginia, with 223. That makes some sense, since Richmond served as the Confederate capital for most of the war; the commonwealth hosted more battles than any other; and the Confederacy’s two most famous generals, Lee and Jackson, were both Virginians. Texas, with 178, comes next, followed by Georgia, North Carolina, and Mississippi. But a surprising number of sites are not in the South. A handful of symbols bear Confederate dedications in Northern States, including New York, which furnished more soldiers to the Union war effort and saw more of them die than any other state, and California, where schools in San Diego and Long Beach are named for Robert E. Lee. (Illinois, the land of Lincoln, has none.)

The Dakota Access Pipeline has already leaked (and it’s not even fully functional). Where did we hear this before? Oh, yeah:

“They keep telling everybody that it is state of the art, that leaks won’t happen, that nothing can go wrong,” said Jan Hasselman, a lawyer for the Standing Rock Sioux tribe, which has been fighting the project for years. “It’s always been false. They haven’t even turned the thing on and it’s shown to be false.”

Is social media making us miserable? Well, kinda:

On social media, the top descriptors to complete the phrase “My husband is …” are “the best,” “my best friend,” “amazing,” “the greatest” and “so cute.” On Google, one of the top five ways to complete that phrase is also “amazing.” So that checks out. The other four: “a jerk,” “annoying,” “gay” and “mean.”

While spending five years staring at a computer screen learning about some of human beings’ strangest and darkest thoughts may not strike most people as a good time, I have found the honest data surprisingly comforting. I have consistently felt less alone in my insecurities, anxieties, struggles and desires.

Once you’ve looked at enough aggregate search data, it’s hard to take the curated selves we see on social media too seriously. Or, as I like to sum up what Google data has taught me: We’re all a mess.

Ok, now some tweets from the week, including this one, which has become the MOST retweeted and faved tweet in history (and it’s about chicken nuggets):

HELP ME PLEASE. A MAN NEEDS HIS NUGGS http://pic.twitter.com/4SrfHmEMo3

— Carter Wilkerson (@carterjwm) April 6, 2017

Well, this is insightful (and scary):

Either the history books will teach the brief troubled presidency of Donald Trump as an object lesson or there will be no history books.

— Gary Shteyngart (@Shteyngart) May 11, 2017

Something about this image is satisfying … I wonder what it is:

@realDonaldTrump http://pic.twitter.com/u4U3kZTehD

— Mike Denison (@mikd33) May 12, 2017

And one more:

This. http://pic.twitter.com/PUzzqVZiMC

— Steve Silberman (@stevesilberman) May 10, 2017

Required Reading is published every Sunday morning ET, and is comprised of a short list of art-related links to long-form articles, videos, blog posts, or photo essays worth a second look.

The post Required Reading appeared first on Hyperallergic.

from Hyperallergic http://ift.tt/2qgKUdJ via IFTTT

#IFTTT #Hyperallergic

0 notes