Quick study: Greg Allen's @TheRealHennessy tweet paintings, MESS, working conditions, more

Greg Allen is making paintings again, and this time he’s painting them himself. According to AnimalNY,

Artist, critic and our go-to appropriation expert Greg Allen has turned joke tweets by artist Jayson Musson (and sometimes internet art critic �Hennessy Youngman�) into paintings. Jokes such as, �I think Moby is on the N train rn but you just can�t go asking small bald white men if they�re Moby. That�s racist.� Ha! Naturally, Allen has done so without permission. He has, however, credited  @TheRealHennessy and announced the painting series on his website. And, they�re selling! For four figures!


In Hyperallergic’s weekly Weekend Words column, Thomas Micchelli considers the word “mess.” He quotes national security analyst Gary Samore, who told the NY Times that the world is “very tangled mess.”  Micchelli includes one of my favorite Beckett quotes: “To find a form that accommodates the mess, that is the task of the artist now.�


More bad news for colleges and universities as administrations are “Doubling Down on the Exploitation of Adjunct Faculty.” When I used to have a full-time professorship, adjuncts were members of AAUP, so I always wondered why they didn’t take over the leadership. They certainly have become the majority. (via The Academe Blog).

And Artnet reports that in France, nude art models rally for better working conditions.


New gallery on the LES:  Kristen Lorello has opened at 195 Chrystie Street, 6th floor. Previously Lorello was the associate director at Eleven Rivington and she also worked at Greenberg Van Doren. �Site/Displace� (installation view above) is on view through August 15th. The show includes work by Goldschmied & Chiari, Zipora Fried, Nadia Haji Omar, Halsey Hathaway, Kristen Jensen Malcolm McClain, David Mramor, Ian Pedigo, Peter Rostovsky, Josh Slater, Letha Wilson. Note that the hours are M-F, 11-6 pm.


Quoting an interview with writer John Gardner from the 1970s, The Paris Review has sparked a discussion about artists’ roles as leaders and public intellectuals: “I think that the difference right now between good art and bad art is that the good artists are the people who are, in one way or another, creating, out of deep and honest concern, a vision of life in the twentieth century that is worth pursuing. And the bad artists, of whom there are many, are whining or moaning or staring, because it�s fashionable, into the dark abyss.” Is it enough for artists to “find a form that accommodates the mess” or do we need to do more?


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