The news this week, as represented by Friday’s Hairy Eyeball, describes to an art world that is observing and redefining itself. Such critical eyes by artists, curators and journalists alike point to a shake up of values and a reassessment of priorities. Radical seeds of dissension are beginning to germinate and axes, which might not yet have begun to fall, will likely soon be wielded by new powers.
In the face of criticism concerning Damien Hirst’s new show of paintings, Tracey Emin defends Hirsts change of medium as “brave.” [via The Wall Street Journal]
In related, The New York Times presents a portrait of Tracey Emin and her work, which in addition to addressing the classification of artist and writer as it pertains to Emin, talks about exhibitionism and the boundaries between private and public that Emins’s work skirts. [via The New York Times]
Urs Fischer becomes the first artist to take over all three of New Museum’s gallery floors to create a series of immersive installations and hallucinatory environments. [via New Museum]
In related, museums and art galleries, not viewers, face the biggest hurdles in keeping up with the contemporary art world. Urs Fischer’s current show at New Museum required massive changes to everything from lighting to architectural plans and last-minute changes and delays meant shipping thousands of pounds of metal sculptures by airplane instead of by boat, at the museum’s expense. [via The Wall Street Journal]
Shepard Fairey, the artist whose “Hope” poster of Barack Obama became an iconic emblem of the presidential campaign, has admitted that he lied about which photograph from The Associated Press he used as his source, and that he then covered up evidence to substantiate his lie. [via The New York Times]
This year’s Power 100 by ArtReview puts with Hans Ulrich Obrist in first place alongside artists and dealers such as Larry Gagosian, Francois Pinault, Eli Broad and Bruce Nauman [via ArtReview] In related, Hans-Ulrich Obrist, the director of Serpentine Gallery and newly criwned art worlds most powerful figure illuminates his busy weekly schedule. [via The Independent]
And finally, in the on going saga of the Richard Prince’s “Spiritual America” which was removed from the Pop Life exhibition at the Tate Modern in London, the museum’s publications arm, Tate Publishing, faces having to dump up to 12,000 catalogs that contain the offending image of a 10-year-old Shields. [via The Telegraph]