Youthfulness in old age: At A Year of Positive Thinking, Mira Schor writes about the work artists make at the end of their lives. "Two painting exhibitions currently across the street from each other on West 25th street challenge any notions one might still harbor about the greater value of being 'younger than Jesus.' By some fortuitous coincidence just a few steps separate 'Joan Mitchell: The Last Paintings' at Cheim & Read from 'Matta: A Centennial Celebration' at Pace Gallery and each show explosively refutes any notion of youthfulness being the province of the young while giving new life to the phenomenon known as'old age style'–used to distinguish formal characteristic of late works by Titian, Rembrandt, or Cézanne, where the artist just wants to get to the heart of the matter and sloughs off all the fine finish he had needed to impress his audience in earlier years...."

Richard Artschwager, Landscape with Median, 2011 acrylic, charcoal and laminate on handmade paper on soundboard 35 1/2 x 49 3/4 inches (Courtesy Mira Schor)

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Elizabeth Bishop, Mérida from the Roof, 1942, watercolor, gouache and graphite on paper, 8 1/2 x 11 1/2"

Ellizabeth Bishop is having an exhibition at Tibor de Nagy. "One hundred years since her birth, and just over thirty years since her death, Bishop is now considered among the most important American poets of the Twentieth Century. Until now, the one facet of her life that has not been explored fully is the transformative role that the visual arts played in her creative output over her lifetime. Bishop made her own art, mostly in the form of intimate watercolors, gouaches, and drawings. She collected art during her years in Brazil, and was also given (and acquired) pieces by her family and closest artist friends. Like her poems, her own artworks possess an unpretentious earthiness combined with an acute eye for detail of everyday life. She made her art quietly, privately, and gave many of them away to friends over the years. The works in this exhibition were all in her collection at the time of her death." (via ArtCatNY)

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Here's a free online publication From the Arts Council England for non-profits and other arts organizations who host internships. Seems like a good idea to make sure we're all providing good experiences (and not exploiting) unpaid interns. "We recognise the mutual benefits of a well-planned internship for both individuals interested in a career in the arts and arts organisations themselves, so we want to set out the responsibilities employers have when offering this kind of position."

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The Walker Art Center has a new website that is being lauded as a completely new way for museums to think about their web presence. OF COURSE the redesigned website has all the good stuff found on blogs because the creator is Paul Schmelzer --one of the original ART BLOGGERS at Eyeteeth. Art bloggers have plenty to teach museums and other organizations about creating a following, building a rich online experience, and joining in the dialogue. Nice job Paul-- I'm glad the Walker is listening.

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Phillip Buntin's studio in Ohio

At Hyperallergic: Philip A Hartigan presents "A View from the Easel," pictures of different painters' studios. "In the last two years I have interviewed more than thirty artists, writers and other creative people for my own blog, Praeterita. The creative process was a part of every discussion, so I thought I would invite these interviewees to submit a photo and a short description of their workspace to an ongoing series called A View from the Easel. These are their images and their words."

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Exercise masquerading as art:

Robert Morris Bodyspacemotionthings playscape (video above), originally created in 1971, has been recreated at the Tate. In 1971, crowds were "wildly enthusiastic" but they had to shut the piece down after four days because of safety issues.

White water rafting through Christo's new project. (via @sophiegg)

Jonathan Borofsky's 1986 installation at MOCA included basketball court and ping pong tables.

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Walter Dahn, Titles #2, 2007 Silkscreen, tempera on linen framed 56 x 70 cm Framed: 74 x 87,5 cm

Excerpt of an old conversation between Richard Prince and Walter Dahn in The Journal of Contemporary Art: "Even Dylan paints. Joni fuckin' Mitchell paints... but why wouldn't we have any problem with, say, Thurston Moore?"

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So long kork. The world's smallest gallery, run by Chris Albert over a xerox machine in an accounting office in Poughkeepsie, is closing at the end of the year. For his last project, Albert is crowd-sourcing the resolution, reworking, or even total annihilation of his painting THA from 2001. Participating artists are pitching in, "re-invisioning", "re-working", or simply obliterating 4"x6" color snapshots of the painting. Get the daily posts by signing up here. And here's my revision for Chris, which involves stenciled letters and silver spray paint.

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Who knew? There's a bowling alley in the basement of the Frick. "Built in 1914 by the Brunswick-Balke-Collender Company, the alley cost its owner, the steel tycoon Henry Clay Frick, $850 — a princely sum that did not include the set of custom balls. In a letter to Mr. Frick from Lee R. Johns, manager of Brunswick’s bowling department, it was flatly stated that the alley he had purchased was the finest 'known to the alley builder’s art' and that the balls — an additional $100 —'are absolutely perfect and remain that way for years.'” (via @heideland).

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Blake Gopnik puts together a list of overpriced artists: Prince, Hirst, Rausch, Mutu, Currin

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Curator Herb Tam writes about the press releases he has saved:
"I’ve been collecting press releases from art spaces for the past six years, taking them home or to the office after an afternoon of seeing shows in Chelsea, the Lower Eastside, Bushwick or wherever. I dutifully 3-hole punch each one of them and stick them into a binder in case I need to refer back to the name of an artist, or to remind me of a noteworthy show. Many of these press releases are crumpled or folded, dingy with pocket lint...." (Hey Herb--I collect them, too.)

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And finally: