Scrolling through a list of recently opened exhibitions, one name gave me pause: Cumwizard69420. A name that reads as if birthed—or shat—straight from the bowels of the Internet. Cumwizard69420. A name that seems as if typed by a snickering teen signing into a chatroom in 1997. In fact, that name would not be out of … Continue reading
“I feel kind of bad for AbEx…It’s vulgar, it’s the phallocracy, it’s nothing but an empty trophy, it celebrates bourgeois subjectivity, it’s a cold-war CIA front, and well, basically expression’s really embarrassing. A dandy wouldn’t be caught dead doing something as earnest as struggling, or channeling jazz with his arms. An old-style dandy, at least,” … Continue reading
In Michel de Certeau’s The Practice of Everyday Life, Vol. 1, Certeau draws the comparison between city walkers and voyeurs. He writes, “To what erotics of knowledge does the ecstasy of reading such a cosmos belong? Having taken voluptuous pleasure in it, I wonder what is the source of this pleasure…” (92). While here Certeau speaks of gazing at the city from above, his description of an “erotics of knowledge” could also delineate strolling through the sleazy façades of red light districts. Continue reading
2016 seems to be the year that the art world rediscovered women. Well, at least in their summer group shows. With this glut of all-women exhibitions, there are valid arguments on either side whether all-women shows are good for the careers of women artists. On one hand, women could be slotted solely as “women artists”–their careers relegated to essentialism and on the other, increased visibility is never a bad thing. Continue reading