Monday 12 November 2012

Web muster

Which is why algorithms, exactly like fascism, work perfectly, with a sense of seemingly unstoppable inevitability, right up until the point they don’t. 
Literature is not Data: Against Digital Humanities by Stephen Marche, Los Angeles Review of Books

The palace Hickey's describing, with its lackeys and viziers, its dealers and advisers, is more of an American phenomenon. It's true that we too have wilfully bad art made for hedge fund managers, but the British art scene is not yet so thick with subservient museum directors and preening philanthropists that nothing is freely done and we can't see the best contemporary art in our public museums because it doesn't suit the dealers.And that will be true, I hope, until we run out of integrity and public money.
Guardian art critic Laura Cummings on David Hockney's renouncement of art criticism

She was, you could say, the Johnny Appleseed of Conceptual Art, planting germs of mind-expanding thought that would grow and flourish around the world.
Ken Johnson on the Brooklyn Museum's Materializing ‘Six Years’: Lucy R. Lippard and the Emergence of Conceptual Art, New York Times

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