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Cory Arcangel: Pro Tools | Nate Hill: Art, Spectacle, and the Media | ?Investment-Quality? Art and Whether We?re All Going to be Poor

From: artfagcity
Sent on: Monday, August 22, 2011 7:54 PM
August 22, 2011


Nate Hill: Art, Spectacle, and the Media

Most people do not care about art. They watch TV, they fuss over their cats, they drink with their friends. As a result, artists who want their work to reach those outside the art world usually need to do a lot of legwork on their own.

Art has to come to people, because people have shown they’re not going to come to art. Presenting artworks only to the already-defined art world assumes art needs that context to affect people, but that’s not true. Good work speaks with a clarity and force that doesn’t need to be framed by the art world, and should be spread to as many people as possible. One way to appeal to the non-gallery going population is to create a media spectacle – it’s a proven way to draw attention and distinguish oneself from the competition. With so many artists working today, it would be dumb to ignore the spectacle’s possibilities.


How the Marlborough Gallery Besmirched Itself

In case you missed it, David Levine recently published an elegantly woven account of the havoc wreaked by Mark Rothko’s will. When Rothko died in 1968, he left nothing to his children; his appointed executors quickly sold or consigned nearly 800 paintings at a drastic discount to the Marlborough Gallery. The inevitable lawsuit filed by his daughter ended the careers of every one involved and has left a permanent scar on Marlborough.


Paddy Johnson at Time Out: Cory Arcangel: Pro Tools

This week at Time Out: Was no one at the Whitney behind the wheel when planning Cory Arcangel’s solo exhibition “Pro Tools”? My feature review on Arcangel’s solo show at the Whitney Museum of Art.


Luhring Augustine’s Bushwick Expansion: Moving Artists Out by Moving Art In

Luhring Augustine is coming to Bushwick November 5th. Now to discuss the unknowns: Could their move attract other businesses? How will the expansion effect artists? How will the expansion effect Roberta’s Pizza?


Art Fag City at The L Magazine: Inside The Art Internet Bubble

The internet finally seems to have made a dint in New York’s institutional art world. Cory Arcangel, an artist who began his career manipulating old computer technologies and critiquing web culture, has an entire floor to himself at The Whitney. At the age of 33, his show Pro Tools makes him the youngest artist to receive a solo show at the institution since Bruce Nauman in 1973. Meanwhile, over at MoMA PS1, 30-year-old art starRyan Trecartin is gathering steam with his four hour-plus video exhibiton of fucked-up child-adults on Blackberries, titled Any Ever. The show at PS1, chock full of internet jargon, is just one stop on a world tour that includes the Istanbul Modern Museum and the Musée d’Art Moderne de la Ville de Paris.

The press for both shows has been insane. Two questions come to mind: First, is it really the art that’s prompting this clamor? And second, how did Arcangel and Trecartin end up garnering such a focus in the first place?


Market Analyst Sergey Skaterschikov, on “Investment-Quality” Art and Whether We’re All Going to be Poor.

The past few weeks, we’ve seen the stock market skyrocket and plummet, with little sign of settling down. Recently, I asked art market analyst Sergey Skaterschikov what this and general economic instability mean for the art world. Apparently, it’s great for auction houses and artists who knew Warhol, bad for emerging artists and their dealers.

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