For Thanksgiving, we'll be serving Meret Oppenheim.

Ghananian fantasy coffin-making is among the most localized regional funerary art practices today. These vernacular sarcophagi, which are fashioned into the forms of cars, pineapples, cigarettes, whiskey bottles, or anything else imaginable, are made only by the coastal Ga tribe. This melting trio of ice cream, snowman, and chocolate bar was commissioned by Olaf Breuning, whose Museo vol. 13 interview is coming soon.

Matthew Barney's geodesic domes at Imhotim

Cory Arcangel will curate works from London's Lisson Gallery's archives to be shown alongside a group of his own new films and digital paintings for "Lisson Presents 7," opening Nov. 25.  The selections will include Daniel Buren, Dan Graham, Rodney Graham, and Jenny Holzer.  In vol. 11, Arcangel commented: "If you’re a young conceptual artist and you’re referencing this thing from this other conceptual artist in the 60s, it’s not so different from me making a YouTube playlist ... [I]n the future, making something will be almost beside the point. It will be like, this is what I’m interested in, here’s the bizarre mix." And here this approach to signification-as-playlist is illuminated through the thematic principle of refraction that joins the made and readymade bodies of work. (Photos: Cory Arcangel, Photoshop CS: 84 by 66 inches, 300 DPI, RGB, square pixels, default gradient "Spectrum", mousedown y=12550 x=9850, mouse up y=12550 x=19500, 2009 and Dan Graham, Model for Pavilion Influenced by Moon, 1988)

Addendum to Robert Lazzarini

Not to go negative, but this flurry of performance art does have a note of Woodstock 2, a whiff of karaoke, a tinge of nostalgia for an age whose irrecuperability is now beyond argument.  What about when performance artists shot themselves with guns, rubbed themselves with meat, rubbed themselves under the floorboards, or at least walked on walls? (Image: Trisha Brown at the Whitney, 1971).

Media theorist Marshall McLuhan's claim "that the 'content' of any medium is always another medium" finds new resonance in the printed publication's migration to digital media, an idea which informs much of the work in the "The "New Photography 2009" show at MoMA, Mused about last week with reference to Sterling Ruby's work. The idea is engaged, perhaps to greatest effect, in Carter Mull's 2009 c-print Eleven (courtesy of Marc Foxx), a manipulated image of the front page of the Los Angeles Times, which becomes an alien artifact.  In the same show, Leslie Hewitt's Riffs on Real Time engages similar ideas with old issues of Ebony. Kelley Walker's King magazine scans such as Aquafresh plus Crest with Whitening Expressions (Regina Hall) come to mind, as does a work to be featured in the upcoming vol. 13, Matthew Day Jackson's LIFE, June 12, 1944. Print might not be quite dead, but the printed periodical is clearly shifting from medium to content.

Signed edition of Helter Skelter, Jimmy Joe Roche's favorite book.

This Wednesday night at 7pm, there will be two performances by artists recently featured in Museo, Omer Fast's "Broken Telephone" at the Henry Street Settlement's Abron Arts Center and Shana Moulton's in "Erratic Anthropologies" at Art in General.

Robert Lazzarini "Rats," this Thursday night at White Box

Before there was The Standard, there was Frédéric Chaubin.

One more, just like a Degas.