River of Fundament, Matthew Barney’s forthcoming project, is loosely based on Norman Mailer’s 1983 novel Ancient Evenings. Starring Paul Giamatti and Maggie Gyllenhaal, it includes “a barge outfitted with a mysterious replica of Mailer’s New York home.”

While in South Korea for the 2012 Gwangju Biennale, I visited the main venue of the 7th Seoul International Media Art Biennale — Mediacity Seoul 2012 — at the Seoul Museum of Art. The title of this installment was Spell on You, which was meant to conjure the deluge of media and its effects we […] While in South Korea for the 2012 Gwangju Biennale, I visited the main venue of the 7th Seoul…

New York-based Hyperallergic’s readers poll of favorite flood-themed artwork has Superflex’s Flooded McDonalds (part of our 2011–2012 Absentee Landlord show) trailing Banksy’s I Don’t Believe in Global Warming.

In TAR magazine, Economist arts writer Sarah Thornton offers 10 reasons she’ll no longer report on the art market, from “It implies that money is the most important thing about art” to “It gives too much exposure to artists who attain high prices.”

“Money and celebrity has cast a shadow over the art world which is prohibiting ideas and debate from coming to the fore,” said critic David Hickey in announcing he’s turning his back on contemporary art.

Just in time for Halloween, MoMA has compiled a list of its spookiest works on display. Works included a baby doll assemblage from Joseph Cornell, Stephen Armellino’s Bullet Proof Mask, and Edvard Munch’s The Scream.

Vito Acconci has been named Designer of the Year by Design Miami, the field’s top commercial fair. The performance art pioneer began designing buildings and public projects in the late '80s, including a NY subway station and a project in the Philadelphia airport.

Riffing on ArtReview’s Power 100 list, Hyerallergic offers its annual look at the “20 Most Powerless People in the Art World.” Among those making the cut: art-world progressives, Odd Nerdrum, and the feminism-damaging Gallery Girls of reality-TV fame.