W.A.G.E

• W.A.G.E. has a new website and it’s in blue. Take a look at what the website, and if you’re a non-profit or museum, approach them about becoming W.A.G.E. certified. That means paying artists fees that are in line with industry standards. The art world needs this. [Wageforwork]
• Story of the day: The press is corrupt. The Syrian president and his wife buys PR from Vogue in the form of a school recommendation and Britain’s former Prime Minister Gordon Brown says he never gave News Corporation permission to publish news of his son’s diagnosis. He has cystic fibrosis. [NYTimes]
• Forbes‘ Abigail R. Esman thinks art fairs are the best museums. We don’t take much she says seriously after she penned that ridiculous article on e-commerce sites last year, but art advisor Todd Levin seems to think a case could be made for TEFAF. Tell us more Mr. Levin! [Forbes]
• NYCer’s now have the summer to watch Christian Marclay’s The Clock. It’ll screen July 13 through Aug. 1 at Lincoln Center. [ArtNet]
• Robert Wilson’s canonical opera Einstein on the Beach has reached Toronto, and will debut in New York September 14-23rd. Never too early to get tickets. [BAM]
• Larry Gagosian is building a second gallery in Paris, bringing the total number of Gagosian Galleries up to 12. ArtInfo’s Julia Halperin notes over Twitter that they’re now only three galleries away from matching Shake Shack’s 15 outlets. [NYTimes]
• Eyebeam wants a new coffee shop. [ArtInfo]
• Damian Hirst splits with his longtime girlfriend. [Dailymail]
• ArtInfo interviews Bob and Roberta Smith on the battle over art and education in the UK. This, I thought, was a good bit:

Public space isn’t about just squares and streets, it’s also about education, and universities, and about health services and all of those things. So it’s trying to re-imagine, and re-think what public space could mean in the future.

Another starting point is Richard Hamilton’s collage “Just What is it That Makes Today’s Homes so Different, so Appealing?” (1958), and its relation to “public space.” Home is about private space, a space where one closes the door on the outside world, which is a good thing on some levels, but you can’t have a consumer society without a home, because you have to take all these things that you buy and display them, or put them to use somewhere. So the whole idea of the home I see as a slightly double-edged sword: It’s the catalyst for the whole of privatization and consumerism and I wanted to subvert that. [ArtInfo]