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Why KAWS s Global Success May Well Be a Symptom of a Depressed Culture, Adrift in Nostalgia and Retail Therapy

Small H Landscape (2001). (Photo by Ben Davis) An artist like KAWS is the best avatar: His main artistic device is to appropriate a familiar cartoon, tweak it, then tweak that tweaked appropriation again, and on and on, developing his own freestanding world. A genre of YouTube movie criticism you see a lot these days is centered around parsing the lore of the big pop nostalgia mythologies. “Criticism” is actually the wrong word it’s more like the cataloging of Easter eggs, the spotting of background references and links to source material and fan theories. Vast empires of content are spun out of this breezy sort of exegesis. It’s probably the

In the 1930s, Artists Benefitting From the New Deal Fought for Every Inch Today s Demands Pale in Comparison

In the 1930s, Artists Benefitting From the New Deal Fought for Every Inch Today s Demands Pale in Comparison
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Art in America Editor William S Smith Departs for Hong Kong s M+ Museum

William S. Smith. Photo: Penske Media Corporation. January 29, 2021 at 9:33pm After seven years as editor-in-chief of Art in America, William S. Smith is departing the magazine to join Hong Kong’s new M+ museum, currently slated to open this fall after a series of postponements. There, Smith will work within the curatorial department and oversee the museum’s digital and editorial content. Smith, who cofounded Triple Canopy in 2007, joined  Art in America in 2013 as an associate editor and in 2017 was promoted to the helm of the magazine, which was founded in 1913. During his editorship, the international monthly published issues themed around Indigenous artists, realism, and immersive art, and Smith himself wrote on a wide variety of subjects, including climate change, the KAWS enterprise, and the New York Museum of Modern Art’s 2019 renovations. His tenure also saw the acquisition of Art Media Holdings which owns 

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