I know these are porcelain and that they’re hand-painted and that there’s four million of them (more on that here), but this install bears an uncanny resemblance to Felix Gonzalez-Torres’s silver-candy piece, Untitled (Placebo), from 1991 — which is currently on view at MoMA. And which can be touched and eaten.
Ai Weiwei’s Detention
I feel like I’ve been uncharacteristically silent on artist Ai Weiwei’s imprisonment by the Chinese government, partially because the news of what happened caught me while I was on the road. The short of it is that Ai’s detention is now entering its third month and blogs such as Art City, Eyeteeth, Modern Art Notes and Hyperallergic have been covering the hell out of the story, so read them!
Naturally, a lot of the talk is about how U.S. museums and other Western cultural institutions should deal with China’s imprisonment of Ai, a figure who has been a vocal critic of his government’s corruption, censorship and negligence. (The government is accusing him of tax evasion.) Certainly, I think it’s important to have powerful institutions protest Ai’s detainment, as well as the imprisonment of countless other intellectuals, writers and activists. Keeping pressure on the Chinese government from all angles is key. But I also think we each have a personal connection to what’s happening, supporting an oppressive regime by slavishly purchasing the goods that come out of the country, be it the latest, hottest iWhatever or the bounty of pressed wood furniture that lines our living rooms. Even the rebel flag shot glasses that clutter so many gas stations in a wide swath of our country are…made in China. Yes, it’s significant that our cultural institutions protest Ai’s detainment. But I wonder how effective these condemnations can be as long as we continue to support such an oppressive regime with our wallets.
My 15 Nanoseconds of Fame
I made it onto Google Street View while riding my bike in the vicinity of the Brooklyn Museum. (Full disclosure: I saw the Google car and followed it for a few of blocks because that’s the kind of cheap, internet fame whore I am. Sorry, Joerg.) The whole thing inspired me to look up some of the addresses I’d lived in over the course of my life on GSV— the vast majority of which aren’t online because my family had a penchant for inhabiting incredibly bizarre, out-of-the-way places. It was a trip back in time, except it wasn’t, because I’m seeing all of these spots in the pseudo-present. (A selection: the place I was born in, the road leading to the house we lived in when I was 10, the donut shop where I used to ditch high school English class and the college dorm that was the site of various inebriated indiscretions.) Which brings me to this highly interesting essay — which I discovered by way of Conscientious — about photography in the age of GSV.
Artist Marie Lorenz takes the New York Times Magazine on a paddle along the Erie Canal in her handcrafted boat. I had the honor of doing the same in the vicinity of Randall’s Island. See a report — with awesome video by Jennifer Hsu — right here.
Do Not Fuck With The Artist: A nice round-up of artsy fartsy vengeance.