Sarah Hromack

Hello: forwardretreat (at) gmail (dot) com
Work: whitney.org
PA from a plane. Delta flight 6563 from JFK to PIT, 23 December 2009. Merry Christmas, all.PA from a plane. Delta flight 6563 from JFK to PIT, 23 December 2009. Merry Christmas, all.

PA from a plane. Delta flight 6563 from JFK to PIT, 23 December 2009. Merry Christmas, all.

And so, here’s this week’s tricks: Francesco Bonami and Gary Carrion-Murayari read the list of artists for 2010, the Whitney Biennial. Produced by Pierce Jackson and the Education department for whitney.org. Fun.

“One understands a city from its opening lines, the first things strangers ask you at a party. In New York it’s “What do you do?” and “Where do you live?” In Kabul it’s “How long have you been here?” and “When are you leaving?”

—New online from Paper Monument, issue 2: War Zone Tourism by Gregory Warner
Taken by MGG outside of the Hammerstein Ballroom on 24 November, 2009.Taken by MGG outside of the Hammerstein Ballroom on 24 November, 2009.

Taken by MGG outside of the Hammerstein Ballroom on 24 November, 2009.

Literal, self aware: The Pixies Doolittle tour, in summary.Literal, self aware: The Pixies Doolittle tour, in summary.

Literal, self aware: The Pixies Doolittle tour, in summary.

Now that we’ve all expended our monthly allotment of brilliance … + I hope that you made it to at least one Performa event while the rest of us were martyring ourselves for the Internet. I just might rally after all for Mike Kelley’s festival at the Grammercy Theater, Fantastic World Superimposed on Reality: A Select History of Experimental Music. Also tomorrow night, AFC’s Paddy Johnson is competing in the World Series of ‘Tubing, Eyebeam’s Performa bit. They call it a “high-energy, augmented reality game show;” to her, it’s a “hi-tech gong show of YouTube curation.” Who’s the writer here, anyway? + The one-two punch that is Posyttypography swung by the Cooper Union this week to celebrate their new book, Lettering & Type, which was recently published by Princeton Architectural Press. Well played, Bruce; well played, Nolen. + Online newness: Paper Monument published a new set of capsule reviews today. As someone who finds art reviews largely insufferable (including those I’ve written, I might add) I’m glad to see PM keeping a healthy sense of perspective on the form; looking forward to this series’ future. Also, Mary Walling Blackburn has a new piece up in Afterall’s online edition, Everywhere only a touching: Breaking and Entering Richard Serra’s pseudo-Bellamy in the South Bronx. “We wonder what, exactly, can release us from our inviolable faith in the permanence of objects. Can we undo that perception without setting everything afire, without uprising, without turning objects to dust?” One would hope. And also: Covers, Joy Garnett’s paintings made paperback. + Project Projects’ Prem went on record with Artforum to discuss the making of MATRIX/Berkeley: A Changing Exhibition of Contemporary Art, a collaboration between PP and curatrix Liz Thomas published to mark the thirtieth anniversary of the Berkeley Art Museum’s Matrix program. I’ve been hearing about this project for a good, long while now, and after having a quick gander at the finished product a few weeks back, I think that PP/BAM did a rather formidable job of manhandling 229 projects’ worth of printed matter. + Sure, it launched over a month ago and yes, it is still good. Tomorrow, Now, Forever is a time and space-based project by Ex-Corporation, the experimental design practice of Angie Keefer and Aaron Gemmill, that effectively renders geographic displacement by capturing live webcam images of the sun rising around the world and displaying them with geographic and temporal coordinates specific to each user. According to the image above, for instance, it is 23:25 at my house in Brooklyn, and 06:25 in Marsa Alam, Egypt, where the sun is rising 6001 miles away as I type these very words.Now that we’ve all expended our monthly allotment of brilliance … + I hope that you made it to at least one Performa event while the rest of us were martyring ourselves for the Internet. I just might rally after all for Mike Kelley’s festival at the Grammercy Theater, Fantastic World Superimposed on Reality: A Select History of Experimental Music. Also tomorrow night, AFC’s Paddy Johnson is competing in the World Series of ‘Tubing, Eyebeam’s Performa bit. They call it a “high-energy, augmented reality game show;” to her, it’s a “hi-tech gong show of YouTube curation.” Who’s the writer here, anyway? + The one-two punch that is Posyttypography swung by the Cooper Union this week to celebrate their new book, Lettering & Type, which was recently published by Princeton Architectural Press. Well played, Bruce; well played, Nolen. + Online newness: Paper Monument published a new set of capsule reviews today. As someone who finds art reviews largely insufferable (including those I’ve written, I might add) I’m glad to see PM keeping a healthy sense of perspective on the form; looking forward to this series’ future. Also, Mary Walling Blackburn has a new piece up in Afterall’s online edition, Everywhere only a touching: Breaking and Entering Richard Serra’s pseudo-Bellamy in the South Bronx. “We wonder what, exactly, can release us from our inviolable faith in the permanence of objects. Can we undo that perception without setting everything afire, without uprising, without turning objects to dust?” One would hope. And also: Covers, Joy Garnett’s paintings made paperback. + Project Projects’ Prem went on record with Artforum to discuss the making of MATRIX/Berkeley: A Changing Exhibition of Contemporary Art, a collaboration between PP and curatrix Liz Thomas published to mark the thirtieth anniversary of the Berkeley Art Museum’s Matrix program. I’ve been hearing about this project for a good, long while now, and after having a quick gander at the finished product a few weeks back, I think that PP/BAM did a rather formidable job of manhandling 229 projects’ worth of printed matter. + Sure, it launched over a month ago and yes, it is still good. Tomorrow, Now, Forever is a time and space-based project by Ex-Corporation, the experimental design practice of Angie Keefer and Aaron Gemmill, that effectively renders geographic displacement by capturing live webcam images of the sun rising around the world and displaying them with geographic and temporal coordinates specific to each user. According to the image above, for instance, it is 23:25 at my house in Brooklyn, and 06:25 in Marsa Alam, Egypt, where the sun is rising 6001 miles away as I type these very words.

Now that we’ve all expended our monthly allotment of brilliance …

+ I hope that you made it to at least one Performa event while the rest of us were martyring ourselves for the Internet. I just might rally after all for Mike Kelley’s festival at the Grammercy Theater, Fantastic World Superimposed on Reality: A Select History of Experimental Music. Also tomorrow night, AFC’s Paddy Johnson is competing in the World Series of ‘Tubing, Eyebeam’s Performa bit. They call it a “high-energy, augmented reality game show;” to her, it’s a “hi-tech gong show of YouTube curation.” Who’s the writer here, anyway?

+ The one-two punch that is Posyttypography swung by the Cooper Union this week to celebrate their new book, Lettering & Type, which was recently published by Princeton Architectural Press. Well played, Bruce; well played, Nolen.

+ Online newness: Paper Monument published a new set of capsule reviews today. As someone who finds art reviews largely insufferable (including those I’ve written, I might add) I’m glad to see PM keeping a healthy sense of perspective on the form; looking forward to this series’ future. Also, Mary Walling Blackburn has a new piece up in Afterall’s online edition, Everywhere only a touching: Breaking and Entering Richard Serra’s pseudo-Bellamy in the South Bronx. “We wonder what, exactly, can release us from our inviolable faith in the permanence of objects. Can we undo that perception without setting everything afire, without uprising, without turning objects to dust?” One would hope. And also: Covers, Joy Garnett’s paintings made paperback.

+ Project Projects’ Prem went on record with Artforum to discuss the making of MATRIX/Berkeley: A Changing Exhibition of Contemporary Art, a collaboration between PP and curatrix Liz Thomas published to mark the thirtieth anniversary of the Berkeley Art Museum’s Matrix program. I’ve been hearing about this project for a good, long while now, and after having a quick gander at the finished product a few weeks back, I think that PP/BAM did a rather formidable job of manhandling 229 projects’ worth of printed matter.

+ Sure, it launched over a month ago and yes, it is still good. Tomorrow, Now, Forever is a time and space-based project by Ex-Corporation, the experimental design practice of Angie Keefer and Aaron Gemmill, that effectively renders geographic displacement by capturing live webcam images of the sun rising around the world and displaying them with geographic and temporal coordinates specific to each user. According to the image above, for instance, it is 23:25 at my house in Brooklyn, and 06:25 in Marsa Alam, Egypt, where the sun is rising 6001 miles away as I type these very words.

Spotted on 14th Street, en route from a grueling day in Chelsea. A little perspective, perhaps.Spotted on 14th Street, en route from a grueling day in Chelsea. A little perspective, perhaps.

Spotted on 14th Street, en route from a grueling day in Chelsea. A little perspective, perhaps.

“Dear Arts Administrator” is a commercial made by W.A.G.E. (Working Artists and the Greater Economy) to promote standards of payments for artists by United States art institutions.

Paul Chan’s “Sade for Sade’s Sake” installed at Greene NaftaliPaul Chan’s “Sade for Sade’s Sake” installed at Greene Naftali

Paul Chan’s “Sade for Sade’s Sake” installed at Greene Naftali

w.org

And then, the Whitney Museum got a new website: Introducing the new whitney.org, a year-plus-long collaborative effort between the museum’s in-house staff and the design partnership Linked by Air. I recently came on board as the museum’s new digital content manager, and I am thrilled—really, I am—to bring years’ worth of web and museum work together on a project as rigorous as this one. Now, we sleep.

“I don’t believe in the unique artist or the unique work of art. I believe in phenomena and in men who put ideas together”

—Marcel Broodthaers (via mrryanbrown)

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