Everything on the Internet is a lie: @Horse_ebooks was a “conceptual art” piece all along
If we can’t trust randomly generated yet intentionally Dadaist Twitter accounts anymore, then who can we trust?
For two years now, the Internet has been smitten with the spam Twitter feed @Horse_ebooks, which spits out Dadaist poetry seemingly drawn from the cut-out bin of diet books and get-rich-quick manuals. It’s spawned Tumblr accounts and T-shirts. People have written fan fiction about it; they’ve turned…
1965: Andy Warhol shopping for Campbell’s soup
Andy Warhol shopping for Campbell’s soup, 1965
Take a Virtual Tour of the 1913 Exhibition That Introduced Avant-Garde Art to America
One hundred years ago, America had only just begun talking about 'avant garde' art. Before the famous 'Armory Show,' no one was even using the term; after it, United States' art-watchers had many reasons to.
In New York Sanitation Dept. Garage, an Art Gallery
Nelson Molina has been collecting treasures from household trash for the past 20 years, all of it on display in a Sanitation Department parking garage.
Happy 80th Birthday Yoko Ono
A very, very happy birthday to the very, very wonderful Yoko Ono who turns 80 today! I was introduced to Yoko Ono (I mean the concept of her; her work) when I was a little kid, probably 6 years old, and I found a copy of her book Grapefruit at a church rummage sale for like a quarter. I’m not tryi…
Wes Anderson’s Worlds by Michael Chabon | NYRblog | The New York Review of Books
The things in Anderson’s films that recall Cornell’s boxes—the strict, steady, four-square construction of individual shots, by which the cinematic frame becomes a Cornellian gesture, a box drawn around the world of the film, as in Moonrise Kingdom’s dressing room scene, with the little bird-girls framed by strips of light bulbs; the teeming, gridded, curio cabinet sets at the heart of The Life Aquatic, The Darjeeling Limited, and Fantastic Mr. Fox—are often cited as evidence of his work’s “artificiality,” at times with the implication, simple-minded and profoundly mistaken, that a high degree of artifice is somehow inimical to seriousness, to honest emotion, to so-called authenticity. All movies, of course, are equally artificial; it’s just that some are more honest about it than others. In this important sense, the hand-built, model-kit artifice on display behind the pane of an Anderson box is a guarantor of authenticity; indeed I would argue that artifice, openly expressed, is the only true “authenticity” an artist can lay claim to.