On Monday, artist Molly Crabapple published “Slaves of Happiness Island,” a firsthand report of the slave-like worker conditions on Abu Dhabi’s Saadiyat Island; the Guggenheim, Louvre, and NYU are all building enormous new enterprises there [...] These conditions violate local and international labor laws. We have now received leaked email correspondence between the Guggenheim and Crabapple ... [that] reveal a shocking unwillingness to provide any statement to journalists [...] — ArtFCity
One Herald Plaza, the bayfront behemoth from which generations of journalists fanned out across South Florida — and at times the world — to cover the news, passed into history on Thursday after succumbing to a real estate deal.
… She was 60. — jimromenesko.com
Kennicott’s entry included several pieces published in the Style section last year. One was a review in June of an exhibit of creations by the architect Kevin Roche at the National Building Museum. — washingtonpost.com
Assessing Roche’s work, Kennicott wrote, “In the end, Roche’s reputation will rise or fall depending on what becomes of the corporate world he served. If the end of corporate America is a dystopian hell of environmental catastrophe, vast economic inequity and social instability...
Goldberger addressed the disappearance of journalistic hegemony and the advent of electronic media. While mainstream publications with an ongoing commitment to architecture criticism continue to possess a degree of authority, they are struggling to make themselves heard in this noise. It is clear to Goldberger that “the playing field may be level, but the players are not equal.” — dirt.asla.org
Arieff discusses how sustainability issues -- climate change, peak oil, declining resources -- suffer when they're thought of as trends; why Julius Shulman deserves to be in a sustainability hall of fame for his photographs showing how architecture is about buildings and people; and why, after years at the top of Dwell's masthead, she's done writing about gorgeous Italian closets and kitchens. — theatlantic.com
Whereas journalism provides a view on the world, as it 'really' is, art often presents a view on the view, as an act of reflection.
The first part of the exhibition title, All that Fits, points directly to the New York Times' moto "All the News That's Fit to Print." It asks us to think about what becomes of the information that doesn't fit into the format or the agenda of a media outlet. — we-make-money-not-art.com
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