The Show kicks off with Caroline Picard discussing a Three Walls/Green Lantern project that breaks American indie arts ground. A communication resource for art like this country has never seen. It will blow your mind.
ALSO, NOT FOR THE FAINT OF HEART. Seriously, if you react negatively to the phrase blow job or the f-boom stay the hell away.
Jason Dunda and Teena McClelland (from the Alliance of Pentaphillic Curators) are back, along with Kathryn, Christopher Hudgens in a rare on mic appearance, Duncan, Terri and Serena all providing team coverage of opening extravaganza 2007.
You are mentioned in this episode, seriously, no name drop list this week because you know you are in here, someone is talking about you, maybe something good, maybe something bad, you’ll just have to listen.
Mike B. is back with 28 somethings later.
Direct download: Bad_at_Sports_Episode_107-opening_shots.mp3
September 12, 2007 · Print This Article
|22 Turner Prize winners reflect on the experience.
‘Like being a Holocaust survivor’, ‘All a bit crap’, ‘A homecoming’, ‘Nice for the parents’ – as a retrospective exhibition gathers up the work of
the 22 winners of the Turner prize, Charlotte Higgins asked them all what it was really like to win the world’s best known art award.
In pictures: This year’s contenders
Miami-Dade has spent three decades — and more than $33 million — building one of the largest and richest art collections in Florida, destined to enhance courthouses, libraries, transit stations, the airport and the seaport. Now many are missing, dying, destroyed or just in general disarry. Romare Bearden’s etching The Train [missing], George Tice’s photograph Petit’s Mobil Station [missing], Robert Rauschenberg’s lithograph Unit (Buffalo) [missing] and the same goes for dozens of other artworks that have gone missing from Miami-Dade’s Art in Public Places program.
• A county audit of the program is under way to determine, among other things, why dozens of artworks have been lost or stolen.
• Signature works by seminal artists have deteriorated, with no money and no plans to restore them, while others sit in storage, belying the notion of art in public places.
• At least 20 works that together cost more than $800,000 have been dropped from the collection inventory because they are either damaged or missing.
• Program administrators still rely on an inconsistent, incomplete inventory to track and manage the collection. [Read more]