We passed 100,000 followers over the weekend! 

Big thanks to you, our fantastic art-loving community – it really means a lot that you’re all here. We also want to give exuberant virtual high fives to all of you who have contributed to our #SubmissionFriday series, which has been successful and awesome only because of your creative talent and willingness to share. So, bravo to you all, and keep the submissions coming!

In some related news, we just went live with a lil’ Tumblr theme makeover. Check it out and let us know, what do you think?

Rafael Lozano-Hemmer’s Frequency and Volume will only be on view through Feb. 3. Don’t miss it!

via Steven Allen

Did you know? On this day in 1935, beer was sold in a can for the first time. In celebration of the occasion, check out Tom Marioni’s FREE BEER: The Act of Drinking Beer with Friends is the Highest Form of Art. Since 1970, Marioni has been staging free beer salons as social artworks in various locations. Listen to the story…

Happy 73rd Birthday to Vito Acconci!

Acconci’s artwork confronts ideas of surveillance, social interaction, and the self.  Shown here is an installation view of Command Performance (1974), in which a television set broadcasts a monologue by Acconci. His voice exhorts visitors to sit on an illuminated stool nearby, saying “Come to me… Now you are there, where I used to be… It’s your turn to play the fool for them.” Read more…

The status of fiction has vanished into the myth of the fact. — Robert Smithson

In the latest Proposal for a Museum post on Open Space, Xiaoyu Weng proposes a Museum of the False. Read more…

Happy Birthday to Janine Antoni!

Antoni’s work challenges the process of viewership and artmaking. She often incorporates the use of her own body as an instrumental element, and has used her mouth, hair, and eyelashes as agents of additive and subtractive imagery. Learn more in this Artcast.

Image: Janine Antoni’s Lick and Lather (1993-1994), which is made from chocolate and soap.

Ever wonder what happens behind the scenes before we install Jay DeFeo’s heroically sized painting Incision?

Read/see more…

El Lissitzky built this modular and changeable room for abstract art in 1927-8… The Abstract Cabinet was destroyed in 1936 during the Third Reich.

Read more…

Amazing detail captured in this photo of Zhang Xiaogang, Big Family, 1996

hyperallergic:

Jay DeFeo, “The Rose” (1958–66). Oil with wood and mica on canvas, 128 7/8 x 92 1/4 x 11 in. (327.3 x 234.3 x 27.9 cm). Whitney Museum of American Art, New York; gift of The Jay DeFeo Trust, Berkeley, CA, and purchase with funds from the Contemporary Painting and Sculpture Committee and the Judith Rothschild Foundation 95.170. (© 2012 The Jay DeFeo Trust / Artists Rights Society [ARS], New York; photo by Ben Blackwell) (via “The Rose” Is Not A Rose)

DeFeo’s The Rose will only be on view at SFMOMA through Feb. 3. Don’t miss it!

thewhitetanktop:

I was lucky to catch Field Conditions at SFMOMA before it closed—not only did it share a name with a collection of poetry I’ve yet to write, it also had some sharp artwork. Stan Allen coined the lovely term and my favorite piece in the show was his print (indistinguishable on the far right of the temporary wall in the picture) of First 2,500 iterations of an infinite series of plan variations. it was a series of square shapes in slightly different permutations that, as I watched them carefully, started to dance like digital snow.

you can read an extensive overview of Field Conditions here on the SFMOMA blog, with a surprising (to me) but totally logical connection to Jackson Pollock.

Thanks for the thoughtful post about Field Conditions! Although it’s now being deinstalled, the exhibition gave us a lot of interesting thoughts that we’ll be thinking about well into the future.

For those who were unable to catch the show, curator Joseph Becker’s blog post is a must-read for anyone curious about architecture, design, and/or the curator’s process.