Noreen Malone, Meet Noah Kalina, the Zuckerberg Wedding Photographer and Former Viral-Video Sensation, for The New York Magazine, May 2012.
See also, I just took this photo. I’ll tell you about it later., and Priscilla and Mark - 20120519.
And I will also write in French.
I live in Berlin, and sometimes in Los Angeles. I make photographs, and videos. And, here.
I also flit on Twitter at times.
This is a little bit of why I am still looking.
I live in Berlin, and sometimes in Los Angeles. I make photographs, and videos. And, here.
I also flit on Twitter at times.
This is a little bit of why I am still looking.
May 23, 2012
What photographer wouldn't be delighted to get such a widespread audience for his work? Well, perhaps the one who didn't get much credit for it. Noah Kalina, the Brooklyn-based photographer who took the shot, tweeted out his own credit, but the photo on Zuckerberg's timeline — the one that went viral — didn't have his name anywhere on it. (A subsequent post crediting Kalina has only six likes). The introduction of photo-sharing was a crucial part of Facebook's financial success — all those amateur uploads helped make Zuckerberg a very wealthy man — and so it seems oddly fitting that Zuckerberg reflexively treated the professional photo, snapped by someone who originally made his fame through social sharing, like one of those amateur shots.
May 22, 2012
Gray-haired, executive-type men in well-starched suits wander through, surveying the exhibition like they’re kicking the tires on a brand new Mercedes. Clichés manifest, clutter, recede, repeat; tautology rules. “That’s a motorcycle in a pool,” proclaims one exec, pointing to a motorcycle in a pool. (…) “Oh yeah. I like him . . . ” Franco begins, but their interview is interrupted by a blonde starlet with unlatched eyes and an available smile.
Andrew Berardini, Los Angeles Plays Itself, for Art Forum, May 2012.
May 17, 2012
It is an important fact that he lived in Los Angeles because this city—like any city—plots grief in its own particular way. Having an airier reverence for the weights of history and permanence, this town is hardly a welcoming home for a monument. The ground here can’t be trusted to hold anything in place, and the perpetual sunshine numbs any conventional sense of the passing of time. So it is fitting that Kelley’s memorial would be ephemeral—here for a few weeks and ever changing—relying on presence and participation to mark his absence.
Jennifer Krasinski, At the End of Tipton Way: On the More Love Hours Memorial to Mike Kelley, for East of Borno, May 2012.
See also, Mike, Louise and Honoré, Highland Park, February 2012.
May 13, 2012
Performance’s raison d’être is historically anti-object, if not anti-art. Its importance rests on its experiential paradigm, a here today/gone tomorrow aesthetic that thumbs its nose at museum culture. Whether documented or not, a performance’s existence in space and time is a deliberate one-shot deal. If you missed it, well, too bad for you.
Thomas Micchelli, The End of Performance Art as We Know It, for Hyperallergic, May 2012.
May 8, 2012
The Olympics have become an Orwellian parody of what happens when a world agency blackmails a government aching for prestige into spending without limit.
Simon Jenkins, 2012 Olympics: Kabul. Baghdad. London. Three to avoid this summer - The missile batteries, fighter jets and VIP lanes are what happens when a world agency blackmails a city aching for prestige, for The Guardian, May 2012.
May 5, 2012
Friends exchanged messages. “Adam’s doing O.K.” “He’s kinda tired.” Minimizing the situation by using simple language felt like the least hysterical trick you could play on yourself. Sometimes, it felt like a memory might work. “Your remember when Tom and Adam went under the bridge with that car and they almost went into the river?” Nope. Just made it worse, recalling the skinny, loopy kid who took any dare and inflated it until it was beyond foolish. The kid who would think the only problem with cancer is that it wasn’t a good enough punchline.
Sasha Frere-Jones, Peace, Adam, for the New Yorker, May 2012.
Thank you.
Though a British journalist’s exclamation at the Biennale’s press conference, “I see a group of people being self indulgent… I don’t see these individuals as artists,” was cast down as something of a backwards view to the Occupy and other protest movements that made up the exhibition, he really has a point. Within an art context, and the context of a state funded institution, the exercise, and the individuals themselves, do come off as self indulgent. There is an elementary school science fair quality to the exhibition, an “Ooh, come look at my protest project that’s bigger and better than that other one sitting next to you.” Leaving aside the biennale’s express presentations, as an institutionalised representation of Berlin it is further problematic. While protest and radical politics have important histories here with legacies still to unfold, this biennale’s orientation presents them in a way that looks and feels haphazard. At a time when Berlin is at somewhat of a tipping point, trying to teeter over and fall on the side of wide acceptance as a legitimate art capital the likes of New York, London, or Los Angeles, we have perpetuated stereotypes. Yes, there is a luxury of experimentation and non-traditional exhibition making in this city. But, that luxury is ever more being taken over by the reality of the city’s growth, to the point where this exhibition fails to even be representative of Berlin’s contemporary pulse.
Alexander Forbes, Occupy Who?, for the Berlin Art Journal, May 2012.
Excellent critic of the missed opportunities presented by the 7th Berlin Biennale.
April 19, 2012
Things got a bit odd with Assange's last question, in which he asked the religious extremist [Hezbollah leader Hassan Nasrallah], "Isn’t Allah, or the notion of God, the ultimate superpower? Shouldn’t you as a freedom fighter also seek to liberate people from the totalitarian concept of a monotheistic god?" Not surprisingly, Nasrallah didn't buy the premise of the question.
Joshua Keating, Julian Assange’s TV debut, for Foreign Policy’s Blog Passport, April 2012. Thank you Ales.
Watch, The World Tomorrow, Episode 1.
April 16, 2012
The Federal Communications Commission censured Google for obstructing an inquiry into the Street View project, which had collected Internet communications from potentially millions of unknowing households as specially equipped cars drove slowly by. (...) Google first said it had not collected personal data. Then it said such data was in fragments. Then it conceded there were things like entire e-mails. People, mostly in Europe, were furious. (...) The head of the information technology department at the French Data Protection Commission in Paris, said the hard drive Google provided investigators there included the full text of e-mails, bank passwords, and all types of conversations and content.
David Streitfeld and Edward Wyatt, Unanswered Questions in F.C.C.’s Google Case, for The NYT, April 2012.
Read it all.
April 15, 2012
It’s an affect, that we want to be photographed as though it’s real, but it’s actually not real. I think this is the big issue now in photography, whether it’s staged or isn’t staged. It comes back to the idea of photography being a medium of truth telling. It’s a very interesting medium; it seems absolutely clear and yet is so mysterious.
Sandra Phillips, interviewed by Bean Gilsdorf for Daily Serving in April 2012 about the exhibition Exposed: Voyeurism, Surveillance, and the Camera Since 1870 which took place at SFMOMA in 2010/2011. Via.
See also, Blake Morrison looks at the history of voyeurism, from Actaeon to paparazzi hounding the Princess of Wales. A new exhibition shows how technology has given us fresh ways of satisfying our desire for a secret glimpse, and TV Screens, an ongoing series.
April 2, 2012
(...) the suggestion is that a definitive exposure of intention is an impossibility. The desire to make a gesture and simultaneously demystify this gesture becomes more about creating a ritual for that desire in itself. How can permission be given to see something without saying “see this thing”? I’m not interested in creating a didactic scenario so the gesture must comprehend itself as a kind of performance of the longing for an impossible clarity. It’s a kind of choreography of intentions.
James Krone interviewed by Bonnie Begusch, for Don’t Panic Online, March 2012.
April 1, 2012
People ask why there are so few female artists who succeed. It’s because women are not ready to sacrifice as much as men. Women want a man, they want a family, they want to have children, they want to be loved, and to be an artist. And they can’t; it’s impossible.
Marina Abramović interviewed by Elisa Lipsky-Karasz, for Harper’s Bazaar, March 2012. Via.
See also, Roos Shamanana’s interview with Marina Abramović for The Believer.
March 31, 2012
The nation’s only certified anechoic chamber in an independent lab, it is a room within a room within a room; the innermost chamber is lined with 3.3-foot-thick fiberglass acoustic wedges and floats on I-beams and springs. Both inner rooms have double walls of insulated steel; the outside walls are foot-thick concrete. The background noise level is minus 9.4 decibels. (…) The total absence of sound outside your body makes you keenly aware of what’s going on inside your body. Your heart pumps. Your lungs inflate and deflate. Your ears buzz. Your blood pulses. In an anechoic chamber, you are one noisy organism. With no reverberation in the room, you have no spatial orientation cues. After about half an hour in the dark, you can become disoriented. Eventually, you might experience visual and aural hallucinations.
Patricia Kelly, The Quietest Room in the World - Orfield Laboratories is making noise with its ideas for making commercial buildings more energy efficient and productive, for TwinCities Business, September 2008.
See also, In 1951, John Cage visited the anechoic chamber at Harvard University.
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