At my house there is an unhealthy obsession with forgeries, all kinds of forgeries. I can trace this back to our interest in Han van Meegeren, the famous Vermeer forger. Although there had been much written about van Meegeren, it was in 2008 when two books came out and a long series of articles by Errol Morris appeared in The New York Times that our interest intensified. Concurrent with Morris’s story was a photo quiz where they’d show you an original Vermeer and a van Meegeren and ask you to pick the one you prefer, then an art historian told you why the Vermeer was better. (Sadly, I can’t find the link to this.) Without exception, I picked van Meegeren. This tells me a couple of things. First, I’d better brush up on my art history. Second, maybe I don’t really like Vermeer. Lastly, perhaps I have bad taste. But I still have this question, why are we so interested in forgeries?
Often books and articles about forgeries center on the idea of money, being ripped off, and the dollars lost. Simply put, money is just a signifier of value—a way to apply something tangible (money) to the intangibility of genius and beauty (art). The excellent book, The Billionaire’s Vinegar by Benjamin Wallace, tells the story of Hardy Rodenstock and a case of “lost” bottles of wine that purportedly belonged to Thomas Jefferson. He fooled everyone. Wine critics. Auction houses. Everyone. One of these “lost Jefferson bottles” sold for $156,000. Why was that? Because this specific wine was just thing to serve with Saturday night’s porterhouse? No, because the purchaser wanted to be close to something grander than himself. In this case Thomas Jefferson. He was filthy rich and wanted to own a piece of history. He wanted to open that bottle and consume Jefferson in a transubstantitive way. And who can blame him?
Back in episode 164 of Bad at Sports, Joanna McKenzie and I reviewed Lee Israel’s memoir Can You Ever Forgive Me?. Israel was a well-respected biographer before booze and a series of bad decisions turned her into a forger of letters. While it was amusing to read about her escapades and how great she was at forging the words Dorothy Parker and Lillian Hellman, I found it upsetting to discover that her forgeries had made it into academic studies and are cited in authoritative texts. At that point it no longer seemed funny, like she’d pulled one over on snotty memorabilia collectors, she’d pulled one over on researchers and those with an honest desire to know more. She pulled one over on us.
There have been quite a few dust-ups in the last decade when people got so upset at authors who were later discovered to have inflated their memoirs. Remember James Frey’s Million Little Pieces? Augusten Burroughs’ Running with Scissors? Even more recently the This American Life retraction of Mike Daisey’s episode on Foxconn? These events spawned surprisingly smart public discussion on the nature of authenticity and the meaning of truth. Birthed from the whole imbroglio was a new word, “truthiness.” I mean we already had “verisimilitude,” but somehow truthiness was just so much more truthful.
There’s a line in Orson Welles’ film about art forger Elmyr de Hory, F is for Fake (1973), where de Hory says “if you hang them in a museum, in the collection, and they hang long enough, then they become real.” Once we move beyond the financial ramifications of fraud, who is hurt by a forged painting, a counterfeit bottle of wine, a couple fabricated letters, or a memoir made a little more exciting? Perhaps de Hory hit the nail on the head, that the fraudulent will eventually become real. Maybe what is so fascinating and so frightening is that a good forger is a good liar. A good forger can fool even the most educated people in their field. And if we can’t trust what we read, or what we drink, or what we see in the museum, then who can we trust?
British Artist, Marcus Coates published The Trip (Serpentine Gallery, 2011) last year — a book documenting Coates’ project with terminal patients at St John’s Hospice in London. Coates interviewed patients, asking a a single, preliminary question: “What can I do for you?” Embedded in that question is an acknowledgement of mortality. Death is on the horizon and Coates offers to accomplish a task this patient can no longer see too, a task this patient regrets never having done. In particular, the book focuses on Alex H.’s request; H. asks Coates to go to the Amazon on his behalf. The first part of the book is dedicated to the proposal, wherein this request is made. The second half is written like a play, where Coates describes the experience of his travels. In one sense The Trip is a travel book. Coates is articulate about his experience with the Huaorani tribe, relaying answers that H. had prescribed. In another, the project raises questions of identity, location of self and self-lessness. It’s an incredibly altruistic project, and yet of course its couched as an art project, a gesture that seems to muddy the waters a little bit. Then too, if you take this work in the context of Coates’ earlier works, it fits into his ouevre as a public shaman. As a reader, participating in the nuances of this dynamic relationship is interesting, particularly when the presence of the Amazon is mediated entirely through a the guise of a written play. In other words, it’s possible Coates might never have gone to the Amazon at all. (The Trip has also been presented as a 35 mm film).
Coates has interested me for a while now; most of his work operates in a liminal space between somber and slapstick. Often the result is a little suspicious, and maybe even for that suspicion, the more compelling. His tongue-in-cheek approach to shamanic mimicry seems to illustrate the desire to step outside reality, to connect to non-human (and perhaps more primitive) modes of being, while admitting the impossibility of that desire. The fact that shaman classes are offered so casually (I imagine a sign up sheet tacked to the bulletin board of one’s local book store) is just another reflection of cultural desire. ”Coates was inducted into the ancient techniques of shamanism on a weekend course in Notting Hill, London. The workshop trained participants to access a ‘non-ordinary’ psychic dimension with the aid of chanting, ‘ethnic’ drumming and dream-catchers.Coates has explained the process as essentially being a form of imaginative visualization. Historically the shaman would have been employed to solve the daily problems of the community; since these usually involved the finding and killing of animals, shamans were valued for their ability to communicate with other species in the spirit world,” (Jonathan Griffin, Frieze, 2007). Coates has made a series of performances where he claims to communicate with animal spirits in the underworld, and after returning from their realm, delivers messages of truth. Or common sense? It’s hard to say. “I think firstly I should say that I am deeply skeptical myself, particularly about new age culture,” Coates said in an interview with Mark Sheerin. “Usually I kind of expect people to walk out,” he says of his rituals, “and I’m quite open to people calling me a charlatan and laughing. I quite like people not to be so reverential.”
Graham Coulter-Smith described Coates this way in art intelligence:
“In one work Coates buried himself in the earth in a consciously theatrical attempt to get close to the forces of nature. He has jumped into the sea on the English coast and on emerging attempted to adopt the mentality of a seal while being videoed—one must have something to show in a gallery. In the remarkable Journey to the Lower World, 2004, he took on the role of shaman dressed in a deer skin complete with antlers. This was a participatory performance situated in a room in high rise tower block in Liverpool—it was also videoed and so there must have been a camera crew present at the occasion. This performance required considerably performative skills in encountering working class Liverpudlians living in a high rise tower block awaiting eviction. The proposal was that Coates would help the residents come to terms with their problem via a shamanistic communing with animal wisdom. In the performance he give an introduction to his audience of working class men and women and then covered his everyday casual clothing with a deer costume complete with antlers. In so doing he mixed the ordinary with the extraordinary in a manner that does seem well suited to contemporary existence. He then delivered a curious and somewhat absurd performance in which he appeared to take on the spirit of the animal acting in an animal-like manner and making animal-like sounds. All of this was incomprehensible to the audience and the video camera turns on the audience to register their expressions of amusement, surprise and disbelief. Perhaps the most extraordinary/ordinary aspect of the performance is when he descends to the ‘lower world’ via the tower block’s lift (elevator). He returns to give the audience an account of his chthonic experience in normal language telling them what the animal world had conveyed to him about their predicament and hopefully providing them with some therapeutic comfort: the advice was not bad encouraging them to sustain their community in the wake of the eviction.”
And, in the same article (aptly called “Simulacral Shamanism” by ) Coulter-Smith puts Coates in the context of late capitalism:
“But set against romanticist inclinations is the inexorable mercenary pragmatism, the superficiality and homogeneity of late capitalism. It is impossible for contemporary artists to escape their cultural context and this is the case for Coates who freely admits he is not sure whether his artistic practice is spiritually significant or merely playacting.” (read the whole article by going here.)
I have been interested in a similar “Hipster Shamanism” idea for a long time now. It’s a phrase that came to mind four or five years ago for me when I’d walk around town and see all these 20-something kids wearing dream catcher t-shirts and moccasins. There were echoes in the deer heads at art fairs and hipster galleries, and a kind of feral youth aura emanating out of popular comic books. While it connecting that chain of icons to Native American spiritualist tropes would do for its own essay, let me just say here that Coates taps into that same zeitgeist, claiming to have access to an alternate reality while nevertheless admitting an uncertain ability to do so. It’s not quite ironic (he offers fair advice to those about to be evicted from their housing complex, for instance) and yet it’s is not quite serious either. It has a disquieting effect. While the hipster-moccasin trend has become less pronounced since, I believe there is still something to it. And somehow I think it’s tied to a sense that nature no longer exists because a) America is a domesticated suburb and b) separating humankind from “nature” is impossible. Without nature, though, there is no “elsewhere” to turn to. The network of global capital is impossible to step outside of — even if one dislikes its values and consequence. Under this light it’s as if Coates just embodies a fantasy to escape, but let’s go back to The Trip again: something real is at stake, just as some exchange is being made. Regardless of the framework that caused such an occasion, it’s a project that dives into the most basic maelstrom of humanity.
Work by Industry of the Ordinary (Adam Brooks and Mathew Wilson).
Chicago Cultural Center is located at 78 E. Washington St. Show begins Friday.
Work by Amber Hawk Swanson.
Chicago Artists’ Coalition is located at 217 N. Carpenter St. Reception Friday, from 6-9pm.
Work by Everything Is Terrible, Paperrad, Future Machine, Daniel Kibblesmith, Extreme Animals, Scott Whiteman, Jake Myers, Reginald Johnson and Lara Stall, Goop of the Gods, Alex Bach and Austin Smith.
Octagon Gallery is located at 120 N Green St. Unit 3B. Reception Friday, from 8-9:30pm.
Work by Allison Wade, Amy Feldman, and Rachel de Joode.
LVL3 is located at 1542 N. Milwaukee Ave. Reception Saturday, 6-10pm.
There’s a certain amount of romanticism in the idea of mining your own gold, mused metalsmith Gabriel Craig on his recent adventure through the Black Hills of South Dakota. Romantic, indeed. Compound the gold mining expedition with two soon-to-be newlyweds who have commissioned locally sourced, handcrafted wedding bands, and you have the makings of a Hollywood epic. Before you cast Craig as a roguish Matthew McConaughey, reconfigure his character to resemble more Michael Heizer with a touch of Henry David Thoreau. Beyond their mutual love of Stetsons, (see Craig pictured above on the far left), both Heizer and Craig have expressed their ecological concern through the displacement and destruction of landscape. The mining of precious metals is, in essence, an ecological disaster involving deforestation, mile-long trenches, and terrifying amounts of cyanide. As a jeweler and metalsmith, Craig has sought to bring attention to ethical craft practices, citing that his process begins with the harvesting of materials—the formation of deposits in the earth—long before they are cultivated by the human hand.
At the heart of Craig’s multifaceted practice, which includes metalsmithing, writing, urban farming, and performance, is a desire for transparency. His performative works in particular—the public demonstrations, participatory constructed situations, and documented expeditions—are conceived as a way to unveil narratives of production from material source to mercantile object. Craig is perhaps best known for Pro Bono Jeweler, a craft-performance that brings metalsmithing to the street via mobile jeweler’s bench. In essence, the piece functions as a public forum for dialogue inspired by the visible production and free distribution of metalwork. More recently, Craig has refocused his tactics towards hands-on participation. Raising Awareness brings spectators into the fold by soliciting gallery-goers to experience the process of “raising” a vessel from a flat sheet of metal. Ultimately, both Pro Bono Jeweler and Raising Awareness fulfill one of the crucial tenants of craft: to humanize the production of objects—all objects—whether manufactured or handcrafted. Further, like many of Craig’s projects, these performances tend to unpack propositions rather than polemics. Criticality emerges through opening-up systems, providing a venue for public discourse, and posing the question: how can craft—as a process and product, legacy and ideology—inspire shifts in human behavior that improve the world around us?
I spoke to Gabriel Craig in his new studio and production facility, Smith Shop, based out of Ponyride, a cooperative space for creative entrepreneurship in Detroit’s Corktown neighborhood.
Sarah Margolis-Pineo: I first encountered your practice in Hand+Made at the Contemporary Arts Museum Houston (2010), an exhibition that featured the work of Theaster Gates, Ann Wilson, and other artists who, likewise, have interwoven craft practice and public performance. I’m curious: as a studio-based crafts person, how did performance began to eke its way into your practice?
Gabriel Craig: My first performance—that I would actually call a performance—was in graduate school, and more than anything, the piece came out of expressing frustration rather than any sort of intentional performative impulse. At the time—as an angsty twenty-three-year-old—I perceived a very insular conversation happening in jewelry. I thought that a way to engage a general audience, or an audience outside of that insular conversation, was to go and make jewelry on the street. I began by performing the Collegiate Jeweler (2007), which ended up turning into the Pro Bono Jeweler (2008, ongoing). During this same time, I was also doing working on a piece where I wrote a series of monologues about being a jeweler and performed them in a theater context, Narcissist: Eight Confessions of an Academic Jeweler (2008). Early in my career, I think I had a lot to say that I felt compelled to share with people in a more direct way than by making objects. For me, performance has always been a way to engage people and directly give them my opinion rather than mediating it through an object. I think that’s the same reason that I started writing, because I had the same burning desire to tell people what I thought.
SMP: Can you speak a bit more to the process by which you went from the impulse of disseminating your frustrations with academia to really crafting a performance?
GC: I was certainly aware of performance practices before then but, after I started doing performance, I started being more conscious of the framework that I fit into and how I wanted to situate my own practice. I always wanted my interactions with the general public to be honest and authentic. It really seemed to me that going out, making jewelry, and sharing that with people was the ultimate goal; essentially, sharing what I do because I love it. The system that I set up—giving away rings as I was making them—emerged from this very altruistic sensibility, but giving away rings really wasn’t the most important part. For me, the most important aspect was interacting with people and having an opportunity to talk to them about using their hands.
GC: There are a whole set of issues that surround handwork including supply chain, manufacturing, consumption, etc. Depending on the individual participant and where they’re at—the context of place—there a whole number of directions that the conversation could go. So many of the conversations I’ve had are about seeing something being made and, all of a sudden, having a window into where things come from. In a way, I’m demystifying manufacturing, but also, I think that showing someone even just one thing being made is an opportunity to start that conversation about how all things are made and get at that disconnect between production and consumption. It was from these genuine, meaningful interactions with people that the performance really developed.
When I was still in school, I got a lot of criticism for not using the traditional performance art language—my performances are essentially demonstrations—but that misses the point. Craft performance is different than art performance. Yes, my performances have the language of a demonstration, but my performances never sell anything. My goal is to share craft with people, and performing craft has different standards than performance art, but that’s my own opinion.
SMP: I find it interesting that you entered into a field that, because of the individuality of the Studio Craft movement, is not viewed as the most social of art forms. I’m thinking of the idea of the monastic craftsperson throwing a pot in a barn or crafting metal broach. Yet, out of this tradition, you were able to develop a social practice…
GC: Really?! Historically, I think of craft as having a really social bent to it in a vernacular sense. You’re thinking of making as in objects that are made in a very monastic way; however, the objects themselves are made to enter into a cultural vernacular of social use. If a potter makes a jug, the making process might be solitary, but the using process is always about some sort of social interaction or utilitarian function. I think that there is that dichotomy in craft—this balance of opposites—which I really enjoy.
SMP: Your work seems indicative of this shift in the field of contemporary craft from the production of products to the processes of making. What’s your relationship to handmade objects versus the practices of handmaking?
GC: I find tremendous enjoyment in using handmade objects, but I find very little engaging intellectual value in them; meaning, the objects themselves don’t have the cultural relevance that the making can have in terms of what the process can mean and cause people to think about.
SMP: Continuing this thread, can you tell me a bit about your most recent project, Raising Awareness (2012, ongoing)?
GC: Raising Awareness takes the process of “raising,” which is taking a flat sheet of metal and forming it into a vessel shape by hammering it with repeated blows over a forming stake. This is a really meditative, highly skilled activity, but it is a process that is really simple when you think about it. All you’re doing is using a lever and fulcrum, essentially, to change the shape of a sheet of metal. It’s really basic—anyone can do it—but not a lot of people are good at it. Also, it’s a really traditional way to make metal objects and most people are totally unaware of this process.
GC: I had always wanted to do a project that was a little more hands-on than the Pro Bono Jeweler. The Pro Bono Jeweler was about showing, and I think there’s an opportunity to make a deeper, more intimate connection than through just conversation. The Pro Bono Jeweler started to get problematic because, often, I was having conversations about making things with an informed, museum-going audience and it stopped being a rich conversation. With Raising Awareness, even if you are already oriented to craft or to metalsmithing, the opportunity to pick something up and start making something—for it to be participatory—means this project facilitates a different level of interaction.
I’m doing a marathon Raising Awareness performance with another metalsmith, David Huang, at ArtPrize in Grand Rapids in September. We’re going to be raising every day for two plus weeks with metalsmith volunteers from around the country for a crowd of 200,000 people over the course of two-and-a-half weeks. That’s going to be something that’s really about sharing widely, and we’ll see how many people we can actually get to do some hands-on work. To contrast that project, I have a show next year at the National Ornamental Metals Museum in Memphis where the project is to work with the public to replicate an object—an accessioned historic metal vessel—that once replicated, will be accessioned by the museum. The idea of recreating a historic masterpiece gives the general public a window into a collection that they couldn’t get any other way. I think that that makes the museum environment such a rich place to execute this project. The intent of both iterations—Art Prize and the Ornamental Metals Museum—is to give the public a stake in making something in an active way and empower them to use their hands.
SMP: Having read a bit of your writing, I gather you’re insanely knowledgeable about the history of craft practice and I feel as though you imbue quite a bit of your work with an early-twentieth century Arts and Crafts mentality that brings together concepts relating to mastery, skill, education, preservation, etc. I’m wondering if you consider yourself within a certain legacy and do you consider that legacy when conceiving, particularly, of these participatory projects?
GC: I’m glad that you picked up on that because the utopian aspect of craft is something I really geek-out on! I’m shamelessly romantic about it. I wish that craft was this model of production that could be perfect and anyone could make a living from it, but in reality, it’s so deeply flawed. I’m really interested in the Arts and Crafts Movement and the idea that turn of the twentieth century crafters were looking back romantically to the Medieval era and what it was to be a maker during that period. It’s funny because life was horrible for Medieval crafters—they were serfs!—yet the late nineteenth and early twentieth century was completely trying to emulate that lifestyle. I think there’s a certain optimism in the idea of making things and deriving enjoyment from it, but simultaneously, grounding these practices in a social context; meaning, really being aware of where things come from, questioning the status quo and labor practices, and having a respect for the environment. If you go back and you read some of the Arts and Crafts practitioners, they were writing about factories polluting the rivers and destroying the land of the English countryside. All of this is still completely applicable now. Right now, I’m finishing this biography of C.R. Ashbee by Alan Crawford, and Crawford is meticulous—the detail to which he writes about the workmen in theses handcraft studios! Anyway, he describes how Ashbee pulled kids off the streets in the East End of London at the end of the nineteenth century, which at the time was really impoverished, and gives them jobs as jewelers: training them, employing them, watching them grow, and really creating an entire lifestyle and an intentional community. Thinking about that and looking at what I’m doing here, I can’t help but project a parallel pursuit. Even if it’s not exactly the same, there’s a certain amount of intentional social engagement that now exists here—out of necessity! The East End of London was a really tough place and Detroit is a really tough place too. But the idea of recruiting on the streets of Corktown is problematic—imperialism and colonialism weren’t a problem for Ashbee. Here you need to meet people on their own terms; but regardless, craft does have something to offer.
SMP: I’m interested in the notion of an “ethical jeweler.” Can you elaborate on the ethical considerations within your practice?
GC: I have a real penchant towards talking about material sourcing, and it’s a conversation that I feel often falls on deaf ears. The issue first came to my attention through Ethical Metalsmiths, which is a nonprofit organization that advocates for mining reform and ethical material sourcing for jewelry. Metal mining is such an environmentally devastating industry. If you’re mining metal now, the practice is “open pit mining.” The basic premise of open pit mining is to find a gold rich area, locate a vein, and then dig an enormous hole in the ground, which can be miles wide and miles deep in some cases. Then, you take all the ore that contains the gold, crush it, put it on a huge tarp, and spray it with cyanide, (it’s the cyanide that leaches the gold out of the rock matrix). The gold and cyanide runs off, and the compounds are separated, using electrolytic deposition, and what you’re left with is waste cyanide and all this crushed rock. All the chemicals that are naturally occurring in rock ore – like sulfides and phosphides – begin to leech out through their exposure to air and rain. Even if this is done in a really responsible fashion, there’s no way to avoid destroying a significant portion of landscape in addition to all the other contamination concerns. Containing cyanide and these chemicals in sludge ponds is hugely imperative because even just a small spill can poison a watershed. The regulation of this in the US and Canada is fairly good, but in other parts of the world—countries that aren’t able to enforce mining laws—there’s real potential for disaster there.
SMP: And what was it that led you on your gold mining expedition?
GC: The idea was to create a narrative piece that illustrated the difficulty of extracting gold and demonstrated what it actually takes to extract a ubiquitous metal from the earth. I had written a more technical/academic article in 2008, “Seeing Green,” for Metalsmithing Magazine about sustainable jewelry making as it existed at that time, but writing facts and figures on paper is wholly different from constructing a narrative that readers can really relate to. There’s a certain amount of romanticism in the idea of mining your own gold. I thought that putting a personal face on the process would be an interesting approach to advocate for better practices. So, I connected with another jeweler and a couple who wanted to have wedding rings made, and the idea was to go and obtain the gold to create the wedding rings in South Dakota. We prospected on a week-long expedition, and in the end, we didn’t find nearly enough gold for the rings to be made. We did manage to document the pursuit of gold—what we were all experiencing—throughout the process. (View videos of the expedition on Vimeo.) The prospecting took place in the middle of this pristine wilderness in the Black Hills of South Dakota. It is such beautiful country, and what did we do? We dug a ten-foot hole in the ground to try to find gold and, in the process, we ruined the landscape—basically trying to avoid knocking over trees and displacing the order of things. Even on the very small scale which we were doing this, we were still really conscious of the fact that we were spoiling the landscape.
GC: I think it’s important to tell stories about material sourcing. We need to expose the narratives of where things come from, not starting from when it arrives as raw material for a craftsperson to use, but starting where the material itself is sourced—things start before a maker even touches them. Even if a maker’s studio is really environmentally conscious and there’s the imperative to make by hand versus through industrial means, if the materials are obtained in a really irresponsible way, I think that taint isn’t erased by making by hand. And so often, that is the case! I had a conversation in Washington, D.C. last week with Daniel Michalik, who is a furniture maker. Almost all of his furniture incorporates cork and he did this wonderful project for Core77 where he went to Portugal and documented the cork harvest. He had hundreds of photos documenting his total immersion in the cork industry from tree to factory. I think that that’s the sort of education that needs to be available for all craft products especially if we’re going to talk about craft as having an ethical imperative. I don’t understand how it’s not a completely holistic conversation!
SMP: How has your practice changed since your first exposure to ethical sourcing?
GC: The first time I saw an Ethical Metalsmiths presentation at a conference I was shocked. My first thought was: What do I do now? Do I quit? I think it’s that tension between something that you’re in love with but at the same time is horrible. How do you resolve or else deal with that tension? I don’t think the world will be a better place if I quit making jewelry, but maybe if I work from within the existing system, there’s the potential that I can do my small part to change it. Craft being a force for good is essential to my worldview and how I approach my practice. I think I’m just compelled to do positive things.
Gabriel Craig is a Detroit-based metalsmith, writer and craft activist. His studio and workshop – Smith Shop – is currently being launched from Ponyride, a cooperative space for art, craft, design and education, in Detroit’s Corktown neighborhood. Craig’s work is included in 40 under 40: Craft Futures, at the Renwick Gallery of the Smithsonian American Art Museum until February 2013. Craig will be speaking at the Smithsonian American Art Museum’s symposium, “Nation Building: Craft and Contemporary American Culture,” Nov 8-9, 2012. Craig will perform Raising Awareness daily with David Huang, September 19 through October 7 at the B.O.B. in Grand Rapids, Michigan as part of ArtPrize 2012. For more visit: www.gabrielcraigmetalsmith.com
This week Lars von Trier put out a call for submissions to be part of his new user-generated project, Gesamt. Honestly this project sounds pretty weirdo (and is in some way probably slightly sexist and anti-semitic) but, as it is emphasized: “Technical skills are not the biggest priority — originality and enthusiasm are much more important.”
The main point is to respond—in some sense via video—to six major works of art that von Trier picked. Though all artist he is asking to respond to are dudes, the press release notes several times that, if chosen, you will be working with a young female director.
Deadline is September 6th. Gesamt will premiere 12th of October 2012 in Kunsthal Charlottenborg.
and, the NYT announcement