Posted by: trailerpilot | 06:06::2012

Linkage | May 14–June 5, 2012

Let’s get meta to kick off this long-overdue Linkage post, shall we? Here’s You’ve Cott Mail’s linkblast from May 14 and Sarah Breselor’s Weekly Review from the next day for Harper’s. Here’s a YCM roundup of recent art-as-protest moments and these are some thoughts from Beth Kanter on Good Curation versus Bad Curation.

There are some interesting points, I suppose, made in “The End of Performance Art as We Know It,” Thomas Micchelli’s takedown of the OMA-designed Marina Abramović Institute planned for Hudson, New York. On the other hand: Can’t Abramović do what she wants with her own damned institute? How does one building, not even built, spell The End of It All for an entire art form? It doesn’t, and it can’t, so simmer down, Micchelli.

Speaking of life going on, another piece went up at Hyperallergic that day: Siobhan Burke’s review of Nox by dance collaborators Rashaun Mitchell and Silas Riener. It isn’t until the penultimate paragraph that the words “Merce” and “Cunningham” appear, and here they are in context: “Both of these artists were members of the Merce Cunningham Dance Company, Mitchell for eight years, Riener for just over four. While Cunningham’s technique runs deeply through their bodies, they are mining from it something very much their own.” Yes indeed, life goes on.

Props to Christopher Knight for seeing the forest and not just its trees in his Culture Monster post about art prices.

“Murkiness is built into a product that is concealed by tinted glass and banded wooden cases and opaque provenance and the fog of history.” This Benjamin Wallace feature on rare-wines hoaxster Rudy Kurniawan is a good read — not least because it includes the phrases “grape nuts” and “fear of the taint” on its first page. Lively!

In an interesting post for The Washington Post, Dominic Basulto goes from talking about losses at JPMorgan Chase to “the intersection of complexity theory with regulatory policy.” In an entertaining response to the same peg, Ben Greenman offers this STATEMENT FROM THE CHAIRMAN REGARDING RECENT LOSSES, o’er at the McSweeney’s.

A massive amount of work went into Chris Ziegler’s chronicle of Palm’s death throes for The Verge.

A first attempt by The New Yorker to use a Middle English thorn “looked like an ill-fitting crown in an otherwise even row of teeth.” In a comment on Mary Norris’s blog post about employing the archaic character at the magazine, aryafj writes, “I think everyone who reads The New Yorker and has any respect for the language, its origins and use wants to work at TNY, fantasizes about it, and perhaps may even write fictional accounts about this in order to transmit herself psychically into that caring niche of knowledge, precision and, perhaps, pretension.”

“Some sociological aspects of the concentric zone theory like residential succession no longer apply to Chicago as they did in the 1920s,” reads this November post on the official blog of the Geographic Society of Chicago. But “certain elements of the model are still visible in the city’s landscape today.” In related news, certain elements of the ideal model for an urban subway system are beginning to emerge, it seems. And here are some thoughts by Whet Moser on “The Death and Life of American City-Planning Journalism,” for Chicago Magazine’s staff blog, The 312. PS: Ever wanted to know where all the experimental forests and ranges are in the United States? Check it out. Oh, and “This Is Water,” by David Foster Wallace. And this is a creative way to imagine a city street.

This is a [short] film about John Baldessari. The Artist.” Narrated. By Tom Waits.

This is Daniil Simkin of American Ballet Theatre tossing off some grands pirouettes after class. This is Danish dancer Johan Kobborg, ABT guest artist, as the Sylph in Alexei Ratmansky’s The Bright Stream.

“Few artists manage to be so present in so many different worlds,” writes Zach Baron of DJ-producer Diplo in a May 18 profile for the Times. Mr. Baron is correct.

“Editors smiled and nudged one another as the silly tents came down the bare plywood runway,” observes Cathy Horyn of a March show by fashion designer Rei Kawakubo. “Gradually, though, their gooey looks of delight turned to serious interest and finally to pleasure, the deep pleasure of seeing something rare and fully resolved and resistant to syllogisms.”

Also in The New York TimesClaudia La Rocco reviews dance programming at Dia:Beacon and Yvonne Rainer’s Assisted Living (Good Sports 2).

There weren’t a lot of women on “Petticoat Lane” back when someone with a movie camera dropped by the London street in 1903.

“Has the newspaper business hit bottom?” asks Philip Meyer. “Could be.”

In October 2005, Jerry Saltz: “Art criticism is no longer dominated by history and theory. Does this create space for curiosity and openness, or leave writers ill-equipped to describe the complexities of the present?”

“I think she just said, ‘I want to put these human situations on the stage,’ ” says Sadler’s Wells artistic director Alistair Spalding of Pina Bausch in this Financial Times podcast. In reply, FT dance critic Clement Crisp…rather less favors her work. Peter Aspden moderates.


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