R.I.P., not really.

TorrentFreak has learned that behind the scenes the Pirate Bay operators are talking to other BitTorrent site owners to encourage them to follow suit and completely ditch torrents in the future…
“Now that the decentralized system for finding peers is so well developed, TPB has decided that there is no need to run a tracker anymore, so it will remain down! It’s the end of an era, but the era is no longer up2date.”

Just an excuse to post their response to a legal threat from Linotype.

Ryan Waller is a designer and publisher based in Brooklyn. He graduated from Rhode Island School of Design in 2003, from Yale School of Art in 2009, worked at Mother in between, and has been a visiting faculty member at Pratt Institute. He made a zine of graffiti-based logos photoshopped onto images of brick walls and it’s in the Whitney Museum of American Art Library.

Alighiero e Boetti: Mappa
Hand embroidered by Afghani craftswomen and men 1971–1992
On display till January 23, 2010 at Barbara Gladstone, NY

I would love to watch a movie based on the life of Eddie Harris

Dr. J and E boogie the all star duo of selling modernism

The theme of the nineth issue of Here and There is HER LIFE. It deals with the various factors that make up the many waves in a woman’s life, such as working, becoming pregnant, giving birth. The colorful stories told by Elein Fleiss, Laetitia Bena, Yurie Nagashima, Miranda July, Midori Araki and Aiko Yamada, reflect each of their lives.

Though he is still crawling, 9-month-old Thurston Conder takes about 10 seconds to have the run of the house. It’s not that he’s exceptionally fast; he just doesn’t have that far to roam. Thurston shares 380 square feet with his mom and dad, Kelly Breslin and Ryan Conder, and a medium-sized mutt named Charlie.

The Studio Museum in Harlem will open the fall/winter season with a major exhibition entitled 30 Seconds off an Inch. This survey will bring together contemporary artworks by a group of artists who, having absorbed the lessons of U.S.-based Conceptual art and identity politics, imbue their respective practices with a critical sense of play and irreverence adopted from Fluxus, Arte Povera, Gutai and Neoconcretism, among other international movements. 30 Seconds takes the singular practices and conceptual methods of black artists active on the West Coast in the late 1960s and early 1970s as a starting point–work that inspired a bodily engagement in conceptual practice.

Presenting approximately one hundred works by dozens of artists, the exhibition will provide an overview of a generation of artists who use a variety of media, including photography, video, large-scale sculpture, figurative painting and site-specific installations. 30 Seconds aims to show how this group of artists engages with the body and race in clever, subtle and astute ways.

This weekend American independent music lost one of it’s greatest drumming talents, and many in New York, Atlanta, and elsewhere lost a true friend and exuberant, buoyant spirit. Jerry (Gerhardt) Fuchs died early Sunday morning from an accidental fall in Williamsburg, Brooklyn.

For the better part of the past two decades Jerry lent his drumming skills to a number of influential indie bands, including Atlanta’s The Maritans, Brooklyn’s Turing Machine, and most recently !!!, The Juan Maclean, and Maserati. For those who had the honor of hearing his music and, especially, of seeing him perform live, he will be remembered as one of those rare musicians whose ability moved from mere mastery into the realms of the the ecstatic and transformative.

He was also a gifted designer and illustrator, and a truly wonderful person. I am honored to have called him a friend. Godspeed.

New York Times
A 2008 Village Voice article on Jerry
A remembrance from Henry Owings at Chunklet

EVERYTHING, NOTHING, SOMETHING, ALWAYS (WALLA!)
a project by Emily Mast for Performa 09

…from their beautifully put together “Love & Poison” concert tape.

032c 18, Thomas Demand
Softcover, 272 pp. + Thomas Demand dossier, offset 4/1, 20 x 27 cm
Edition of 2000
Published by 032c

Laura Palmer Foundation, Stadium X — A Place That Never Was offers a selection of texts presenting a multi-faceted picture of that site’s deterioration and its existence as a ‘city within a city’ and also documents the series of live art projects. The Stadium and its parasites functions, which are now being erased form the map of Warsaw will likely become some distant planet, while the present publication, with the brilliant contributions from its authors, will attain — perhaps — the status of an unreal story about a place that, after all, never was.

Soothing

Our pal Ricky’s blog; kindred spirits with Andy’s, for sure. Gets me even more curious to visit Pasadena flea markets, which I never get around to, commuting from the west side of LA.

3. The music comes directly from the artist.
Most of Rinse’s output is sourced directly from producers. Tracks are played as soon as possible, often without anyone but the DJ and producer knowing the credits and dropped before they risk becoming stale or come close to getting a release. As funky crew Circle said in response to someone asking for one particular track to be identified on an internet forum: “Tracklist? You’ll be lucky”.

Trim (above) on Rinse, 2004. This set on Deja Vu 92.3 was my intro to grime.

The art world is now both socially professional and professionally social. Curators visit artists’ studios; collectors, dealers, and journalists assemble for a reception and reconvene later for dinner; everyone goes to parties. We exchange introductions and small talk; art is bought and sold; careers (and friendships) brighten or fade. In each situation, certain behaviors are expected while others are silently discouraged. Sometimes, what’s appropriate in the real world would be catastrophic in the art world, and vice versa.

Making these distinctions on the spot can be nerve-wracking and disastrous. So we asked ourselves: What is the place of etiquette in art? How do social mores establish our communities, mediate our critical discussions, and frame our experience of art? If we were to transcribe these unspoken laws, what would they look like? What happens when the rules are broken? Since we didn’t have all the answers, we politely asked our friends for some help.

A good read.

“That’s part of my problem with writing around graphic design: it uses such grand, revolutionary, pompous rhetoric, and in most cases they just don’t fit the subject matter. I guess it’s because that sort of rhetoric—ideologies, systems, strategies, which seems to ape the language of war and social change—comes from a particular sort of art or architecture writing. When it gets filtered to graphic design, which is mostly everyday and ephemeral, it just doesn’t fit right. I find it a bit embarrassing That’s why most design writing feels like self-justification, which is just dull.”

Phil Chang, Untitled (C496)

Renwick Gallery is pleased to announce the group show Beyond Process. The exhibition features Lucas Ajemian, Patterson Beckwith, Phil Chang, Samara Golden, Alexander Hoda, George Kontos, Jason Kraus, Megan Marrin, and Lisa Williamson.

Thanks Jeff