The Hirshhorn Bubble Exposes the Problem with Event Art by Kriston Capps

When the Museum of Modern Art’s PS1 outpost in Queens launched “Wendy” on July 1, it was hard to say exactly what it was supposed to be. For visiting tots, Wendy was plainly a kick-ass fountain: The spiky, blue, house-sized echinoderm sprayed jets of cool water from its arms at random intervals all summer long. According to HWKN, the New York–based architectural firm that designed Wendy, its purpose was to eat smog: its nanoparticle-treated nylon-fabric body absorbed the equivalent of the exhaust of 260 cars over the course of its display.


Reuters: Occupy Art By Felix Salmon

In the art world, the courtiers are revolting: Dave Hickey, a curator, professor and author known for a passionate defence of beauty in his collection of essays The Invisible Dragon and his wide-ranging cultural criticism, is walking away from a world he says is calcified, self-reverential and a hostage to rich collectors who have no respect for what they are doing.

“They’re in the hedge fund business, so they drop their windfall profits into art. It’s just not serious,” he told the Observer. “Art editors and critics – people like me – have become a courtier class. All we do is wander around the palace and advise very rich people. It’s not worth my time.” …

Hickey is adamant he wants out of the business. “What can I tell you? It’s nasty and it’s stupid. I’m an intellectual and I don’t care if I’m not invited to the party. I quit.”


Tyler Green: The MAN Podcast: Gregory Crewdson

documents the process and production Crewdson requires to make his work, especially his “Beneath the Roses” series of pictures, which were shot in Western Massachusetts. “Brief Encounters” was produced and directed by Ben Shapiro and is playing in selected cities. It’s playing at New York’s Lincoln Center, in Seattle and at several locations in south Florida. It opens in wider release throughout December and January.

Crewdson has been the subject of several traveling career-length surveys in Europe. In the United States both Hatje Cantz and Abrams have published major monographs of his work. His pictures are in the collections of many museums including the Metropolitan Museum of Art, the San Francisco Museum of Modern Art and the Museum of Modern Art.


ArtForum: Anne Pontégnie on Franz West (1947–2012)


Baltimore Sun: Need gift inspiration? Try Baltimore arts scene Skip the mall and try local authors, artists and musicians