Mishka Henner

When Google introduced its free satellite imagery service to the world in 2005, views of our planet only previously accessible to astronauts and surveyors were suddenly available to anyone with an Internet connection. Yet the vistas revealed by this technology were not universally embraced.

Surprisingly, one of the most vociferous of governments to censor political, economic, and military locations was the Dutch, hiding hundreds of significant sites, including royal palaces, fuel depots, and army barracks throughout their relatively small country. The Dutch method of censorship is notable for its stylistic intervention compared to other countries: imposing bold, multicolored polygons over sites rather than the subtler and more standard techniques employed in other countries. The result is a landscape occasionally punctuated by sharp aesthetic contrasts between secret sites and the rural and urban environments surrounding them. 

-- Mishka Henner, from this wonderful online exhibition, DB12    

Tracey Emin's studio, here. 

My mom handed me this issue of the WSJ Magazine months ago after reading it on the plane. "Here," she said, "there's an artist in here I think you'd like -- Emig, Emin... something or other. Anyway, she's seems very, er, interesting." 

I'm still trying to figure out how my mom finds corollaries between me and Tracey Emin, but ok. I like it.

Marc Digeros

here

Adam Bartos

travel pictures

here

our book (your book)

Just wanted to share some pages from the enormous collaborative book The Art Foundation commissioned for our first exhibition, Fountainhead. It's a beautifully made object, made by the hands of our man, Andrew Douglas Underwood (above, third from left). You can download the book for free here, as well as read about all the artists involved in bringing this harebrained scheme to life. Big news to follow about this project. Stay tuned.

 (all photos by Teresa Rafidi)

Phyllida Barlow

here.

Thank you, RP.

Fountainhead

For its inaugural curated exhibition, Fountainhead, The Art Foundation has solicited the alteration of various photographic iterations of Marcel Duchamp’s readymade, Fountain, by a number of local and international artists. The altered images have been compiled in an outsized book that will be exhibited during the weekend of the Dallas Art Fair, April 14-15, alongside a small exhibition of art objects that explore themes of authorship, receptivity, deception and manipulation.

Referencing the prankster quality of Duchamp’s decimation of the existing art structures of his time, Fountainhead parrots the language of the traditional exhibition structure while reveling in the paradoxes and latitudes allowed in our current poly-post-ism of art. Flexing ideas of attribution, the works presented inFountainhead alternately specify and misconstrue authorship, as a means of bothering the leveled readings of the objects and actions presented in the exhibition.

It's been quiet around here, partly due to this little show I've helped put together with an art collective here in Dallas. Many thanks to my blogger friends that contributed work -- Stephanie Madewell (3rd image above) and Laetitia Benat.

Read about the show here and here.