Wednesday, December 31, 2008
Sunday, December 28, 2008
A man enraged by a noisy family sitting near him in a movie theater on Christmas night shot the father of the family in the arm, police said. James Joseph Cialella, 29, of Philadelphia, faces six charges that include attempted murder and aggravated assault. He remained in custody Saturday. Police said Cialella told the man's family to be quiet, then threw popcorn at the man's son. The victim, whom television reports identified as Woffard Lomax, told police that Cialella was walking toward his family when he stood up and was shot. Detectives called to the United Artists Riverview Stadium theater in South Philadelphia found Cialella carrying the weapon, a .380-caliber handgun, in his waistband, police said. Police could not confirm what movie was playing in the theater, but The Philadelphia Inquirer reported that it was "The Curious Case of Benjamin Button." -- MARYCLAIRE DALE Verizon News
Saturday, December 27, 2008
Sunday, December 21, 2008
Saturday, December 20, 2008
Friday, December 12, 2008
In Hollender’s 2006 installation Death Equalizer, members of the public were invited to sit in a fully functioning electric chair, set up so there was a one-in-3.5 billion chance per second of suffering a lethal shock.
Thursday, December 11, 2008
Tuesday, December 9, 2008
Saturday, December 6, 2008
The Art Fair as Outlet Mall By KEN JOHNSON NY TIMES Published: December 5, 2008 MIAMI BEACH, Fla. — The most trenchant comment on the dazzling and enervating spectacle that is Art Basel Miami Beach is written in bold black and white letters on the floor of the Mary Boone Gallery booth. A wall-to-wall text piece by Barbara Kruger, it spells out two quotations. One, from Goethe, observes, “We are the slaves of objects around us.” The other, from a short story by Edgar Allan Poe, reads, “He entered shop after shop, priced nothing, spoke no word, and looked at all objects with a wild and distracted stare.” These lines truly sum up the experience of a frenetic fair that embraces more than 200 galleries and many ancillary exhibitions and events in other locations in the Miami area. To take in so much art in so short a time is by turns thrilling, numbing and totally mystifying. And that’s not to mention the schmooze storm of parties, business meetings, open houses and other private events orchestrated to charm the collector class. The sense of art as merchandise is overpowering. A majority of what you see is portable and palatable. Most galleries offer variety-store-like mixes of works by different artists with the ambience of a sample sale.
An installation at T293 by the French team that goes by the name Claire Fontaine consists of a crude sculpture of a blue horse, an obscure reference to a popular symbol of political liberation from the 1970s. The words “Is freedom therapeutic?” are spray-painted graffiti-style on the walls, while a poster poses the question, “Why is art the only space of expression for a luxurious and exclusive principle of reality that makes abnormality into a source of wealth and a desirable condition?”
Why, in other words, must the kind of radical creative freedom and idiosyncrasy we celebrate in modern art remain a commodity that only people of means can really afford?