It struck me that someone should've made a movie, shooting every five years or so, starring Harry Dean Stanton, James Hong and the late Richard Griffiths. The world would change around them, but they'd stay the same. It'd be so good.

29.07.2017 • Permalink

One of my favorite bands, Anathema, just released their latest effort, titled The Optimist. I’ve starred it on Spotify, but haven’t really had time to listen to it. (A cursory once-over got my hopes up, though.) As it happens, I’m old-school and like support the artists I like and to own my music, but what I’m not is a purist about formats. I figured I’d buy it digitally. However, once I got to their web store, I found I couldn’t. In 2017. Now, obviously there’s Amazon and iTunes, to name but two purveyors of lower-quality MP3 files, but still … why couldn’t I buy the digital edition directly from the band? Again: in 2017.

11.06.2017 • Permalink

Art is now, above all, purchasable – and this commodification is apocalyptic in precisely the opposite way of the exposition. In the classic exposition we displayed objects as a means to celebrate the possible future or the material potential of the present. In the gallery, as in the auction house, we still celebrate exorbitant sales as an expression of apocalyptic insecurity, but the only recapitulation here is the affirmation of purchasing power – of the current and future investment prospects of Basquiat, of a world possibly without materials, of a world entirely composed of capital. There is no celebration of aesthetic or material potential, or a celebration of possible advance, only the grotesque spectacle of meaningless wealth reinforcing itself – the market hollowing out and infecting one of our last bastions against the market’s pull.

The Big Basquiat Sale Is Art’s Capitalist Apocalypse

28.05.2017 • Permalink

In light of recent events, here is The Beautiful South with Manchester.

24.05.2017 • Permalink