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This Week in Art Crime

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In an ongoing case, Australian artist Paul Yore is facing child pornography charges following complaints concerning his work in a group show on view last year at Melbourne’s Linden Centre of Contemporary Arts. The art in question is part of Yore’s site-specific, large-scale installation “Everything is Fucked,” a tottering mountain of colorful bric-a-brac that viewers could enter. As part of the work, seven photographs of children’s faces were overlaid on images of male bodies engaged in sexual activity, prompting a gallery visitor to file a complaint to the police, The Age reported. The exhibition, Like Mike, is a tribute to Australian artist Mike Brown, who was the only Australian artist ever convicted of obscenity. Brown was sentenced to three months of hard labor for a group of paintings he exhibited in 1966, but it was late reduced to a $20 fine on appeal.

In response to the protests, Australian police, armed with a warrant and a box cutter, cut out the images last May; however, the Melbourne Magistrates Court ruled on the first day of Yore’s hearing that the exhibition was actually suitable for viewers 18 and older according to standards set by the Australian Classification Board. Yore has pleaded not guilty to both charges of producing and possessing child pornography.

(via)

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A St. Louis city police unit was vandalized overnight. The words on the car read, ‘Victory’ and ‘Revolt.’ The vandalism occurred on the Hampton Village parking lot around 2:30 a.m. Wednesday morning.

The Mazda Road Runner Bobby Hughes captured this photo while on the scene.

The car has been towed to a garage for repairs.

(via)

Cops were scanning surveillance camera footage Wednesday of a tagger who spray-painted his feelings on a police car near the 94th Precinct stationhouse in Greenpoint, a van and the exterior of PS 31.

“NYPD = NAZI,” one message read. “NYPD Picks on Harmless People,” said another. The suspect also wrote “NYPD” next to a swastika.

“A wrongful arrest is a crime NYPD 94 curse you,” the tagger wrote on the exterior of the school, which is near the stationhouse on Meserole Ave.

(via)

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UCPD received several calls early Wednesday morning about the vandalism and responded to the scene around 2:10 a.m. Officers apprehended [one] student and three men who do not attend UC Berkeley…The four men were allegedly carrying red paint.

The words “KILL FRATS” and “Kill ASUC” were spray-painted onto the pillars of Sather Gate, and the message “KILL REGENT$,” along with a hammer and sickle sign, were graffitied onto Haas Pavilion. “FULL COMMUNISM” was spray-painted beneath a bridge over Strawberry Creek, and “Frats = Rape” was also spray-painted onto the side of Cesar Chavez Student Center.

(via)

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On August 20, Canadian performance artist Istvan Kantor smeared a white wall on the third floor of the Whitney Museum’s Jeff Koons retrospective with his own blood, and signed the impromptu mural with the name “Monty Cantsin,” and Hyperallergic reported. He was photographed by a passerby, ecstatically raising his arms and holding a piece of paper.

Kantor was removed from the scene by security and sent to a mental institution for evaluation. The exhibition was closed off, but quickly reopened. No artwork is reported to have been damaged…

The Hungarian-born Canadian artist Kantor is one of the founders of the Neoist art movement, which began in Montreal in 1979, and whose acolytes regularly adopt the moniker Monty Cantsin to carry out performances and exhibitions.

Kantor’s Koons attack is the latest in a series of radical performances begun in the 1970s, in which the artist throws his own blood on artworks, exhibitions, or members of the public. The most infamous recent entry in the series came in 2004, when Kantor threw a vial of his blood at the wall near a Paul McCarthy sculpture of Michael Jackson at Berlin’s Hamburger Bahnhof.

Not everyone has responded to Kantor’s bloody performances so negatively. In 2004 Canada gave him a Governor General’s Award in the visual and media arts category.

(via)

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Terrifying Robot Update: Monday, August 25, 2014

The robot hotel is so quiet it is only the light buzzing of the robot wheels on the hotel carpet it is as quiet as a server farm there is no one in the hotel there are towels the robot butler will bring the towels there are no people in the hotel it is very quiet

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hahahahaha who said the arms manufacturing industry doesn’t have a sense of humor WHO SAID THAT WAS IT YOU WAS IT YOU IN THE BACK THERE I HEARD YOU

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“HitchBot, assembled from household odds and ends by university professors Frauke Zeller and David Smith, was to reunite with its creators at an art gallery in Victoria, British Columbia having crossed more than 3,700 miles.

The pair devised the trip hoping it would provide insights into societal views of robots.

“This project turns our fear of technology on its head and asks, ‘Can robots trust humans?’” Zeller told AFP in late July when HitchBot’s trip began.” (via)

That’s right, that motherfucker from last time made it all the way across goddamn Canada Goddammit when will people LISTEN

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No, it’s fine, it’s definitely fine, this definitely is not a problem, I’m fine, this is fine, we’re all gonna be fine

 

Sunday Reading

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Karen Gregory:

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ReclaimUC:

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Jacqui Shine:

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Kitabet:

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Jacob Remes:

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Bint Battuta:

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/kaw·reɪdʒ/:

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Kerim Friedman:

 

The Military Industrial Complex Yard Sale

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Every year the Pentagon distributes its excess equipment to local police departments across the country. This equipment includes assault rifles, grenade launchers, armored vehicles, night-vision goggles, and various aircraft.

The Pentagon, however, is passing around much more than military-grade nightmare gear, according to data released to MuckRock under a Freedom of Information Act request. Here’s a list of items that the Pentagon has also distributed the to local agencies across the country (I’ve also published this list previously on my blog):

31 armoires

1 money counter

6 french horns and 1 euphonium

179 assorted lawn mowers

271 assorted treadmills

72 golf carts and 1 order of golf balls

2 pizza ovens

Pizza Anniversary

37 kitchen spatulas, 35 laboratory spatulas, and 3 dental spatulas

71 dessert spoons, 82 tea spoons, and 12 picnic spoons

30 shower curtain hooks

1 pair of cotton underwear

1252 laundry bags

1 recumbent exercise bike

39 scooters

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5809 wet weather poncho liners

2 food carrying carts

17 dish towels

23 soccer balls

3 fishing boats, 19 kayaks, and 7 canoes

10 men’s pajama trousers

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21 kevlar goatskin combat gloves

4758 neckerchiefs

1 santa’s uniform

1 simulated suicide bomber vest

4 black rain coats

3 “slaving” accessories (I’m hoping this is a typo)

1 bouncy castle w/ blower

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The Times, which recently ran an interactive piece about the Pentagon’s equipment program, notes that “this data does not represent all of the military-style gear that law enforcement agencies have. Agencies also purchase equipment with their own money or with federal grants.” It’s a distinct possibility that there’s more than one police department with a bouncy castle out there, inhabited, I hope, by a santasuit-wearing cop holding an assault rifle in one hand and a dental spatula in the other.

Download the original data here.

 

Living is Easy

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When it comes to summer entertainment, movies are shouting about nothing into empty theatres. Then they kill everyone

Summer movies promise us many things, but mostly they promise recognizable brands. The hottest months of the year for many years now have been hijacked by uninspired pastiche and comic book infantilization. You’ve got your Marvel here, your D.C. over there, your ‘80s sitcom rebooted here, your ‘60s sci-fi dressed in newfangled CGI there. Thrilling action, spine-tingling adventure, and genuine spectacle come with, but only if they’re attached to a known quantity. The trailers for modern summer movies almost always hinge upon giving away their money shot, building up for 20 seconds of instant cliché recognition until at last arriving at their climax, splooging a hundred million dollars at the audience in a quick montage.

Many of us know, deep inside, just how bogus a proposition this is, regardless of how resigned we are to the status quo and how aware we are that the same argument has been made against mass cultural products for as long as such things have existed. And, of course, we all know that summer movies have and could be any number of things if corporations spent their money on richer, more satisfying movies. If the box office numbers (85 percent of theatre seats go unfilled, according to leading indie distributor Cinedigm’s CEO Chris McGurk) are any indication, moviegoers want something else than what we’re being offered. Or at least what we know we’re being offered.

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