Brad Troemel Names of People Who Become Names of Companies Who Become Names of People, 2010
hyde or die
Bill Cunningham
I know you like to take pictures of your fellow New Yorkers, now here is your chance to do something with that. Like something that is cooler than just posting it on your blog.
Legendary New York Times photographer Bill Cunningham—now entering his ninth decade and still riding his Schwinn around Manhattan, snapping pictures of the people and events that captivate our city—stands out in a city of dedicated originals. He’s also the subject of the opening night film of New Directors/New Films 2010, jointly presented by the Film Society of Lincoln Center and MoMA. Now MoMA and FLSC want to give one lucky reader a chance to discover fresh work by emerging filmmakers with a series pass to the festival!
Here’s how it works: You take a picture of your fellow New Yorkers, inspired by Cunningham’s off-the-cuff, street-level style. (Think colorful, spontaneous—cell phone pics welcome!) We’ll pick one at random, and award the lucky photographer a series pass*, plus two tickets to see Bill Cunningham, New York at FLSC on Thursday, March 25.
To enter: Post your picture on the New Directors/New Films Facebook wall (please include the caption “NDNF Contest”) or tweet the URL of your picture to @NDNF using hashtag #ndnfcontest. You must post by midnight EST on Tuesday, March 23.
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Deitch, what are you doing?! I am not completely confident, but I am under the distinct impression if you are planning on doing something unethical you keep that knowledge to yourself. Which loosely translates to not telling anyone. Especially not the press! Maybe he doesn’t think dealing while Director (DWD..heh) is unethical? In which case we have ANOTHER problem. Ugh…Here’s what happened.
(Could Deitch) possibly unload some pieces from his personal collection “to supplement a museum director’s salary.”
But instead of talking to me about his personal collection, (Deitch) discussed his gallery’s “enormous” unsold inventory. He couldn’t possibly liquidate his entire stock in the next three months, he told me, so he expected occasionally to put some of those pieces up for auction.
“Isn’t that ‘dealing’?” I blurted out, thrown off-guard by this astonishing admission.
He then backpedaled: He would sell only lesser works at minor auctions “like Christie’s Open.” (Works in Christie’s most recent First Open sale went for as much as $842,500.) The more important pieces would be transferred from his gallery’s inventory to his private collection (from which he had previously stated that he might occasionally sell works).
He then reverted to Jeffrey-as-victim, complaining about being subjected to this importunate line of questioning when he was sacrificing “millions of dollars in opportunity costs” (i.e., money that he would otherwise have made), by giving up future gallery earnings for a nonprofit museum director’s salary.
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![Ivan Navarro, Nowhere Man 1, 2009
Phillip Niemeyer of Double Triple asked me yesterday why Ivan Navarro’s Nowhere Man 1 [pictured above] isn’t a work of plagiarism. I don’t have a sufficient defense. Spotted at the Armory’s Modern fair last week, the title does not acknowledge its origins which are obviously derived from Otl Aicher’s 1972 Munich Olympics designs. Neither one of us was convinced that rendering the piece in neon sufficiently changed the work.
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Paddy Johnson asks a good question, Why isn’t Ivan Navarro’s Nowhere Man 1 plagiarism?](http://29.media.tumblr.com/tumblr_kze1qrWjNf1qz849zo1_500.jpg)
Ivan Navarro, Nowhere Man 1, 2009
Phillip Niemeyer of Double Triple asked me yesterday why Ivan Navarro’s Nowhere Man 1 [pictured above] isn’t a work of plagiarism. I don’t have a sufficient defense. Spotted at the Armory’s Modern fair last week, the title does not acknowledge its origins which are obviously derived from Otl Aicher’s 1972 Munich Olympics designs. Neither one of us was convinced that rendering the piece in neon sufficiently changed the work.
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Paddy Johnson asks a good question, Why isn’t Ivan Navarro’s Nowhere Man 1 plagiarism?
» Watch Marina Abramovic's performance at MoMA live
I love that they are streaming this. Next best thing to being there right? Right?!
Sometimes denial is my best friend.
I love the Machine Projects, Artist in Residence program at the Hammer Museum, it is tooooo cool. A few weeks ago I had a private concert in the coat closet. The musicians played a song called Dreamweaver and I haven’t posted it yet because I haven’t gotten the pictures off of my camera, but it was awesome. Don’t believe me, this weekend you can have your own personal soundtrack:
LIVE PERSONAL SOUNDTRACK
Saturday, March 13, 1-4PM
Eric Klerks
Visitors to the Permanent Collection and Luisa Lambri’s Being there will be presented with the option to “check out” guitarist Eric Klerks to walk with them through the exhibitions. He will follow the visitor around, playing live music into headphones through which only that visitor can hear. This event will happen intermittently on Saturdays throughout the year, in various galleries and exhibitions. Curated by Chris Kallmyer.
Ant Farm, (Chip Lord, Doug Michels, Curtis Schreier) Media Burn, July 4, 1975.
This was a performance at the Cow Palace in San Francisco. I wasn’t alive yet. Live is unfair.
