Lucy Lippard in 1976. Alongside her writing and curating, Lippard’s a well-known activist, participating with the Art Workers’ Coalition and the WAC (Women’s Action Coalition), among others.
For the best straight talk on art criticism, look back 50 years. In her 1966 essay “After a Fashion: The Group Show,” art critic and curator Lucy Lippard wrote an unintentional manifesto on what makes a good…
Ian Svenonious was right from “Seinfeld Syndrome” and “Psychic Soviet”
"Seinfeld’s characters, each more loathsome than the last, indulge in a selfishness unimaginable in the suburban milieus of their televised predecessors. Due to the anonymity that the city provides, there is no culpability for their actions. The program’s conspiratorial tone of intimate confidentiality stems from its function as proxy mouthpiece for the ruling class through which to speak to its bourgeois counterparts.
The lack of an overt “message” in Seinfeld reflects capitalism’s code: individualism and self-interestreign supreme. In one episode, when Jerryruminates over a “black and white” cookie, hespoofs a message of racial harmony. “Look to the cookie,” he says; ironically, the black and whitecookie depicts a segregated world, as opposed tofudge swirl ice cream, for example.”
All 11 cars of an entire train on the No. 7 line will be fully wrapped on both interior and exterior, transforming it into the show’s Monk’s Café, complete with Jerry, Elaine, George and Kramer in their preferred hangout.
ugh everything happens after i leave NYC
Of course I also find this interesting because of the recuperation of what was seen as a blight on the city (images applied to the interior and exterior surfaces of the trains) as a spectacular and desirable display. The fact that people would like to inhabit an advertisement, if only for a moment…well that’s a whole ‘nother story.