{"id":1556,"date":"2010-02-16T19:24:41","date_gmt":"2010-02-17T03:24:41","guid":{"rendered":"http:\/\/www.artsjournal.com\/anotherbb\/wp\/2010\/02\/links_-_nut_up_or_shut_up\/"},"modified":"2010-02-16T19:24:41","modified_gmt":"2010-02-17T03:24:41","slug":"links_-_nut_up_or_shut_up","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/anotherbb\/2010\/02\/links_-_nut_up_or_shut_up.html","title":{"rendered":"Links – Nut Up or Shut Up"},"content":{"rendered":"

Thanks to painter Susanna Bluhm<\/a>, Another BB<\/i> has been host to a thoughtful discussion about artists writing on each other’s work, here<\/a>. An excellent examination of same subject at Chicago Art Magazine<\/i> is titled, Nut Up or Shut Up<\/a><\/i>. That felicitous imperative belongs to Woody Harrelson, who used it when taking his big gun on the road in Zombieland<\/i>.<\/p>\n

\"woodyharrelson.jpg\"Related:<\/b><\/i> AJ<\/strike> TJ Norris talks about<\/a> being an artist and a curator. <\/p>\n

Other news:<\/b>
<\/b>
Just what is it<\/b> that makes today’s art bloggers so different, so appealing? (image via<\/a>)<\/p>\n

\"RichardHamiltonappealing.jpg\"Our tact, of course. ANABA<\/i> art blogger Martin Bromirski offered a choice example of blogger good manners in his attack<\/a> on Jerry Saltz, calling him an undead zombie for repeating himself. <\/p>\n

Saltz responded the way class acts do when at fault, here<\/a>. Yes, Saltz recycled a few comments and\/or phrases. Just how big is this fault? Grand Canyon or sidewalk? In essence, he plagiarized from himself. Wholesale reintroductions of past bon mots disguised as fresh insights are a problem, but that’s not what Saltz did. It was a comment here, a phrase there. I’d like to meet the art critic who has never done something similar. When I look in the mirror, that person does not look back at me.<\/p>\n

(Third story with zombies in it, Dawn of the Literary Mash-up<\/i><\/a> from Escape Into Life<\/i>.)

Jaron Lanier<\/b> on why writing for the Web makes you poor, here<\/a>. (Read it and weep, former newspaper staffers.)<\/p>\n

Second link from Chicago Art Magazine<\/i><\/b>, The
\nRebel Sell: Why Culture Can’t Be Jammed<\/i><\/a>.

Roberta Smith<\/b> explores the currently high level of testosterone in art, titled, Swagger and Sideburns: Bad Boys in Galleries<\/i><\/a>. Smith is in excellent form these days. Also notable is her Post-Minimal to the Max<\/i><\/a>. Lead from the latter story follows: <\/p>\n

TO paraphrase Jerry Lee Lewis<\/a>, there
\nis a whole lot of art making going on right now. All different kinds.
\nBut you’d hardly know it from the contemporary art that New York’s major
\nmuseums have been serving up lately, and particularly this season. <\/p><\/blockquote>\n

The current exhibition of Gabriel Orozco at the Museum of Modern Art
\nalong with the recent ones of Roni Horn at the Whitney
\nMuseum<\/a> and of Urs Fischer at the New Museum have generated a lot of
\ncomment pro and con. So has the Tino Sehgal performance exhibition now
\non view in an otherwise emptied-out Guggenheim rotunda. But regardless
\nof what you think about these artists individually, their shows share a
\nvisual austerity and coolness of temperature that are dispiritingly
\none-note. After encountering so many bare walls and open spaces, after
\nexamining so many amalgams of photography, altered objects, seductive
\nmaterials and Conceptual puzzles awaiting deciphering, I started to feel
\nas if it were all part of a big-box chain featuring only one brand. <\/p><\/blockquote>\n


Geoff Edgers profiles<\/a><\/b> the late great director of the Rose Museum, Michael Rush. (I didn’t know he’d been an actor on Law and Order<\/i> and Spencer: For Hire<\/i>. No wonder he was comfortable in front of the cameras.) Real Clear Arts<\/i><\/a> expands on related themes.<\/p>\n

Rebecca Brown<\/b>, gorgeous prose stylist, sings a love song to failure in The Stranger<\/i>, here<\/a>.

<\/b><\/div>\n

Good news: Safeco<\/a> <\/b>Insurance Company donates 840 works from its 2,000 plus collection to the Washington Art Consortium, a cooperative of seven Northwest museums.  Although the details in the Seattle Times’ story don’t quite add up, such as the smothered-in-PR assertion that the company is donating its artwork to prove it’s still alive (usually, the reverse is true), it’s positive that a strong regional collection will not be sold off piecemeal. <\/p>\n

Bad news:<\/b> The Department of Transportation Security plans to crack down<\/a> on those who ship art by plane. It opens up the possibility that “airline employees could open carefully crated works
\nof art to search them the way checked baggage is sometimes searched
\nnow, poking around Picassos instead of sweaters and socks.” <\/p>\n<\/div>\n

Art comes from art.<\/b> Without the freedom to rethink and borrow heavily from the work of others, the enterprise will head for a timid dark age. Even so, there are cases when a straight-up ripoff needs to be sorted, if only with a credit line. For photographers in that<\/a> situation, this is the only document they need. <\/p>\n","protected":false},"excerpt":{"rendered":"

Thanks to painter Susanna Bluhm, Another BB has been host to a thoughtful discussion about artists writing on each other’s work, here. An excellent examination of same subject at Chicago Art Magazine is titled, Nut Up or Shut Up. That felicitous imperative belongs to Woody Harrelson, who used it when taking his big gun on […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-1556","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/1556","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/comments?post=1556"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/1556\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/media?parent=1556"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/categories?post=1556"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/tags?post=1556"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}