There is no better analogy for contemporary art than Conway’s Game of Life. This is not the same thing as The Game of Life, which is played on a board and simulates the education and subsequent useful employment of a human being. Conway’s Game of Life is a math game, an evolution simulator simple enough to be played on a checkerboard, but most often encountered on a computer. In the game, three rules govern whether or not an individual “cell” lives, dies or reproduces.
This is a logarithmic scale, with each incident number ten times worse than the one preceding it. ‘John Large, a nuclear engineer, explained the scale in layman’s terms for Britain’s Channel 4 News: “1 is someone dropping a milk bottle in the control room, and Chernobyl is 7.”’ (Filched from the New York Times )
Jessica Jackson Hutchins, Couch For a Long Time, 2009
Sleet spattered over VIPs queuing outside for the opening of the Whitney Biennial on February 23rd. We suffered in silence, in darkness, our conversations drowned by the monastic groaning of an outdoor installation that cast an eerie blue hue. Dumpling trucks prowled and rogue cameramen interviewed some on a scrap of red carpet. We inched along as the storm intensified, sentries sifting us into various purgatories….[link]
The Whitney Biennial is something of a coming-out party for mostly young and mostly unknown contemporary artists working in America. To announce the much-anticipated list of artists selected for this year’s show, which opens in New York on February 25th, the two curators, Francesco Bonami and Gary Carrion-Murayari, have supplemented the traditional press release with a short, weird film. Art wags are now scratching their heads, wondering what this could possibly mean….
And of course, on the left, my (real life, very red) muse:
Thanks to Models.com and V Magazine for the images