• The slow task of moving a 340-pound boulder—the centerpiece of Michael Heizer’s Levitated Mass to be installed at LACMA—106 miles is slowed further by bureaucracy: Each of 100 jursidictions the stone rolls through require permits to allow passage.
• Artist Wim Delvoye on the difference between how he and Ai Weiwei view China: “He is a very, very angry man, very angry in China. They have done things to him, and he cannot forgive. I’m a foreigner, I’m an outsider, I see things more with rose-colored glasses.”
• The graphic design associated with Occupy Wall Street—a dancer performing an arabesque atop Wall Street’s iconic bull—has something in common with the logo of the hacker group Anonymous: Links to ancient Greek iconography.
• We Make Money Not Art looks at Trevor Paglen’s photography of U.S. government “black ops” sites; the project is related to a piece in the current Walker show, Graphic Design: Now in Production, which features a series of official patches created for secret military projects.
• Artist Matthew Moore was featured in the Walker’s 2008 exhibition Worlds Away: New Suburban Landscapes with his plantings that mimicked the kinds of suburban communities that were eating up precious agricultural land near his family’s Phoenix-area farm. Now he’s got a new project, the Digital Farm Collective:
Using time-lapse photography, I began filming all the crops on our farm, and soon started inviting other farmers to do the same. Using specially designed solar-powered, weather-resistant units housing digital time-lapse cameras, farmers around the world can film their crops.
• Must-read: The New York Times on Estee Lauder heir Ronald Lauder’s philanthropic giving, art buying (he bought his first artwork by Egon Schiele when he was 13, using money from a bar mitvah gift) and “tax avoidance techniques.”