Sarah Hromack

whitneymuseum: Congratulations to choreographer Sarah...

Fri, 20 Apr 2012 14:35:20 -0400

Congratulations to choreographer Sarah Michelson, recipient of the 2012 Bucksbaum Award. Photo of Michelson’s 4th Floor residency via The New York Times.

Also, the Whitney has a Tumblr—just in time to SUBMIT all of the photos you’ve been taking during the 2012 Biennial because oh hai, we’re allowing visitor photography in the galleries right now, which isn’t generally the case. DO IT.

iteeth: Jump the Shark!

Tue, 03 Apr 2012 16:14:51 -0400

iteeth:

Jump the Shark!

“If chronic Facebook or Twitter posting is not an exercise...

Sun, 01 Apr 2012 09:20:00 -0400

“If chronic Facebook or Twitter posting is not an exercise in neurosis, then nothing is.”

April, fools.

+ Where Have All The Neurotics Gone? (NYT; illustration by Han Hoogerbrugge, rendered into a Tumblr-proof GIF—a fact which illustrates the article more perfectly than the image itself.)

This is what happens when one—i.e. I—attempts to access BBC web...

Wed, 28 Mar 2012 14:00:00 -0400

This is what happens when one—i.e. I—attempts to access BBC web content from an American IP address. Sadly so, as I was hoping to hear the on-record account of Jeremy Deller’s meeting with Andy Warhol while visiting New York for the first time, as a young(er) man.* Looking forward to catching his solo exhibition, Joy in People, at the Hayward Gallery just before it closes on May 13th.

*A narrative first recounted to me by Deller as we passed a pair of Warhol’s pink Calvin Klein underwear back and forth while standing in the Andy Warhol Museum archives, circa 2001. Note that said briefs had just been plucked from the knapsack Warhol had in his possession when he checked into the New York City hospital that he subsequently died in. True story.

grupaok: Marcel Broodthaers interviews the “auto-icon” of...

Sun, 25 Mar 2012 18:24:01 -0400

grupaok:

Marcel Broodthaers interviews the “auto-icon” of Jeremy Bentham, great and deeply weird figure of the Enlightenment, at University College, London, for his film Figures of Wax, 1974.

Video

Fri, 23 Mar 2012 04:01:29 -0400

[Flash 10 is required to watch video.]

No Fungible Goods, Over Here

Thu, 22 Mar 2012 11:44:00 -0400

“Two pernicious fallacies embedded in criticism of Twitter—and, by extension, blogs, tumblrs, and GIFs of catbots who kill with laser eyes—are that non-traditional forms of expression can wipe out existing ones, and that these forms are somehow impoverished. The variables unique to the Internet—hyperlinks, GIFs, chat, comments—have enabled new writing voices with their own distinct syntaxes. But we are not dealing with fungible goods—the new forms will never push out older ones because they’re insufficiently similar. You might overdose on unicorn GIFs and go to bed too tired to read ‘Freedom,’ but unicorn GIFs will never replace Freedom.’”

+ Good Things About Twitter (Sasha Frere Jones, The New Yorker’s “The Political Scene” blog, 22 March 2012)

Internet is now a color.

Sat, 17 Mar 2012 15:05:01 -0400

Internet is now a color.

Photo

Fri, 02 Mar 2012 12:18:41 -0500

If I could skip out of the office—or really, ever—today to...

Wed, 15 Feb 2012 11:32:58 -0500

If I could skip out of the office—or really, ever—today to witness Triple Canopy’s programmatic debute at MoMA, I would. But I can’t. So you should!

triplecanopy:

Tonight, artist David Horvitz begins our series at MoMA Print Studio, Miscellaneous Uncatalogued Material. At each talk, a different artist will choose a work from MoMA’s collection and lead participants in a discussion about how digital technologies, new forms of publication, and new modes of authorship have changed arts publishing over the years. Horvitz will examine a photoradiogram from 1926, one of the earliest images ever to be transmitted electronically with a telecommunication device.

February 15, 27 and March 7 from 2:30-4 p.m. Museum of Modern Art Print Studio, 4 West 54th St.

jfei: Cindy ShermanUntitled I will admit that I’m...

Wed, 15 Feb 2012 11:28:00 -0500

jfei:

Cindy Sherman
Untitled

I will admit that I’m slightly beside myself over the upcoming Cindy Sherman retrospective—the title doesn’t specify as much, but come on—at MoMA, which opens on 26 February. I’m not one for celebrity sightings, but I always get a cheap thrill when I spot Cindy in the crowd at an opening. Obviously, she and I have made some similar observations about New York art world nightlife.

Photo

Fri, 03 Feb 2012 13:47:59 -0500

My very old (and very talented) friend, Drew Moody, has released...

Mon, 23 Jan 2012 22:15:25 -0500

My very old (and very talented) friend, Drew Moody, has released a new serial novel, That Time We Said Those Nice Things that “follows the adventures of a 30-something year-old fellow on the cusp of adulthood or total ruin”—which is pretty much every 30-something year-old fellow (and lady!) I know, come to think of it. His work has resonated with me since we were both undergraduates at MICA, and I’m glad to see him channeling our collective existential angst (it’s still there!) so wisely.

When he’s not drawing, Drew works as Lehmann Maupin’s head preparator—he’s been there for years. Drew is the quiet, smart, reliable, highly observant sort who gets it done every time while making mental notes along the way. The man never blinks, I swear. These are his stories and if they don’t resonate with anyone who’s served time in Chelsea … Well. Open your eyes at your next opening!

If SOPA passes, you can kiss UbuWeb goodbye. An effective plea...

Wed, 11 Jan 2012 12:32:00 -0500

If SOPA passes, you can kiss UbuWeb goodbye.

An effective plea by UbuWeb to stop SOPA legislation. Yes, many (if not most) of us—including Congress, obviously—”don’t understand the Internet,” but I find that non-technical people think about technology most rationally when its use value is articulated in relationship to their own perceived (or actual!) needs and routines.

So, non-Internet-understanding, hands-in-the-air-throwing, esoteric-documentation-loving art world: How would you feel if, all of a sudden, the videos, audio files, and texts that you’ve grown accustomed to accessing for your personal research and lectures—because admit it: you all crib from Ubu—were relegated back to their musty archival homes the Real World over? That would be inconvenient now, wouldn’t it? Yes. It would be.

“This font was inspired by Monica Lewinsky” —Paul...

Sat, 24 Dec 2011 16:59:00 -0500

“This font was inspired by Monica Lewinsky” —Paul Chan, “Wht is a book?”, the New Museum, 10 December, 2011

Blogging About Books on Christmas Eve (or, Catching Up on the Backlog While Home for the Holidaze)

+ Paul Chan’s new essay, A Lawless Proposition was published on e-flux following two recent talks at the New Museum, “Wht is Lawlessness?” and “Wht is a Book?”. While I missed the former, I was able to catch the latter, a relaxed, self-effacing account of Chan’s experiences as a newbie publisher that felt less like a lecture than a public conversation with lots of “chiming in” from the audience. Gratifying.

+ The Guggenheim is indeed the first museum to release a digital exhibition catalogue for Maurizio Cattelan: All (along with a slew of titles from its back catalogue). Am I experiencing a moment of good-natured professional jealousy? Why yes, in fact, I am. Related: Do recall the 54th La Biennale di Venezia iPad catalogue (2010) and Badlands Unlimited/Creative Time’s Waiting for Godot in New Orleans: a Field Guide (2011). Also, the Getty Foundation’s OSCI Project.

+ Take This Book is a Kickstarter-funded—seven more days to go—history-in-the-making of the People’s Library at Occupy Wall Street, written by LadyJourno Melissa Gira Grant. A first excerpt from the project was recently published on Rhizome. Back that book up!

+ Bookish Things to See ASAP: At MoMA, Scenes from Zagreb: Artists’ Publications of the New Art Practice, organized by library Bibliographer David Senior (on view through February). Especially looking forward to the publications of Dimitrije Bašičević Mangalos, whose manifestos were some of my favorite works in the 2004-5 Carnegie International at the Carnegie Museum of Art, in Pittsburgh. (I was the curatorial assistant—the Wrangler of the Checklist never forgets!) The curator of that exhibition, now-MoMA curator Laura Hoptman, wrote a book that I suspect would make an apt companion to Senior’s presentation, Primary Documents: A Sourcebook for Eastern and Central European Art since the 1950s. It was published by MoMA in 2002, just as we began working on the International, and functioned as an English-language introduction to Eastern European practices of the late 20th century. Related: Projects by Grupa O.K. (a.k.a. Julian Myers and Joanna Szupinska)

Untitled, a film on the AIDS epidemic by Jim Hodges, Carlos...

Thu, 01 Dec 2011 10:51:00 -0500

Untitled, a film on the AIDS epidemic by Jim Hodges, Carlos Marques da Cruz, and Encke King (and distributed for World AIDS Day/Day With(out) Art 2011 by Visual AIDS) will screen in the Whitney’s lobby—along with scores of other institutions nationwide—today.

"What’s the second credit crunch? It’s the content crunch. It’s when the lights go on at the end of..."

Tue, 29 Nov 2011 15:51:00 -0500

“What’s the second credit crunch? It’s the content crunch. It’s when the lights go on at the end of the party, and you notice the smoke machine and mirrored walls, that the beautiful people you’ve been dancing with have grey skin and cocaine confidence and that the great DJ was just someone’s iPod on shuffle. It’s when it becomes clear that meaning in your work only resides there on credit, and that all the chatter around your career has been about everything but the art itself.”

- You are reading Dan Fox’s Frieze missive from 2008, Debit or Credit, which resurfaced on the Twitterzverse today. Right now. Then, you’re settling in to watch The Wire boxed set straight through—because that’s what you (and me, and all of us) should’ve been doing in the first place.

An Acceptable Approximation

Sun, 27 Nov 2011 10:16:00 -0500

… is the title of an essay I wrote—in the first person, no less—for Never Odd or Even, a book designed by Project Projects and featured in the exhibition We would provide complete darkness, curated by Alfons Hug and Sarah Demeuse for the Goethe Institut. Contributors include myself, Heike Baranowsky, Alejandro Cesarco, Angie Keefer, Christoph Keller, Adam Kleinman, Kitty Kraus, Jorge Méndez Blake, Carsten Nicolai, and Project Projects. The exhibition opens on 1 December from 6-8:00 pm at the Institut’s Wyoming Building; Cabinet will host a related event on 7 December. (details)

The volume will be surreptitiously inserted throughout the Goethe Institut’s collection—amidst volumes slated for de-acquisition and the Institut’s current, circulating stacks, where those who find it shall carry it into the world. A bibliographic intervention, if you will.

An excerpt:

The differences between paper and e-ink; the gallery, screen, and stage; or the library and database are clear enough, in material terms. Where things become genuinely disconcerting, I believe, is when we—when I—fail to control my own behavior in relationship to the Internet, allowing it to serve as an acceptable approximation for physical experience itself. When I catch myself feeling convinced, even momentarily, that I know something of an exhibition or performance based on the amount of documentation I’ve perused online, or when I feel judgments beginning to form in my mind based on first-hand reports gleaned from various social networks.

A graphical call for an artists’ union. (Daniel Blochwitz/...

Fri, 25 Nov 2011 16:10:18 -0500

A graphical call for an artists’ union. (Daniel Blochwitz/ dis magazine)

After blogging-for-dollars for years, I de-installed stat...

Wed, 23 Nov 2011 15:21:00 -0500

After blogging-for-dollars for years, I de-installed stat tracking software on every domain I own. If you work online for a living, can I tacitly suggest that you do the same where you can and free your mind accordingly to think about content for what it is—not what it’s worth? #protip.