Categories
Art Writing and Criticism

Art Review’s Power 100 for 2011

Source: Screenshot of Art Review Power 100 Site

The Art Review’s Power 100 reflects the most influential art folks (in the world). The much deserved #1 spot for 2011 went to Chinese contemporary artist Ai WeiWei. HOWEVER, this list STILL looks like a cup of vanilla ice cream washed down with a cup of milk. According to Art Review, the list is,

First and foremost, a guide to the general trends, networks and forces that shape the artworld.

~ Art Review on the Power 100

I’m not so sure about the list being a true sign of who truly affects and shapes the art world. The list (still) includes many people behind the business of art versus actual artists. With the power of the internet, interactive media, and new media arts, there’s a huge void in the list. In addition, calling these individuals powerful is largely based on accessibility to them. I’m sure Larry Gagosian (last year’s #1) wouldn’t even look at me if I walked into his space. Coincidently, his New York gallery is not too far from Eyebeam (highly influential arts and technology organization that is fertile ground for some ridiculously talented artists).

Bottom line: Although the list may infuriate, excite, or perturb, it’s a gateway into learning one side of the multi-faceted/dimensional nature of the art world.

Click here to read my write-up for the Power 100 list of 2010.

By Dorothy R. Santos

Dorothy R. Santos (b. 1978) is a Filipina American writer, artist, and educator whose academic and research interests include feminist media histories, critical medical anthropology, race and technology. Born and raised in San Francisco, California, she holds Bachelor’s degrees in Philosophy and Psychology from the University of San Francisco and received her Master’s degree in Visual and Critical Studies at the California College of the Arts. She is a Ph.D. student in Film and Digital Media at the University of California, Santa Cruz as a Eugene V. Cota-Robles fellow. Her work as been exhibited at Ars Electronica, Fort Mason Center for Arts & Culture, Yerba Buena Center for the Arts, and the GLBT Historical Society.

Her writing appears in art21, Rhizome, Hyperallergic, Ars Technica, Vice Motherboard, and SF MOMA’s Open Space. Her essay “Materiality to Machines: Manufacturing the Organic and Hypotheses for Future Imaginings,” was published in The Routledge Companion to Biology in Art and Architecture. She is a co-founder of REFRESH, a politically-engaged art and curatorial collective and serves as the program manager for the Processing Foundation.

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