in the year 2100 art journalists will type in invisible ink

With newspapers in terminal decline, what future for arts journalism?
Coverage of the arts is migrating online but unless someone is prepared to pay for it, the outlook is uncertain By András Szántó///The Art Newspaper

excepts/quick summary of article (because i like to add to the copying of information and scaled down fluff of what art journalism has become, wink-wink):

Arts journalism as we used to know it is sinking with the ship.
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Specialised writers are giving way to generalists. Culture sections are being tossed overboard (standalone book review sections, in particular, are a dying breed). Article lengths and “news holes” (space for editorial content) are shrinking. All this has eviscerated newspapers’ ability to deliver quality arts coverage, which, as a result, must migrate elsewhere.
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More people than ever are reading and writing about art, thanks to the web.
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The problem is not the scarcity or the quality of arts journalism (the latter has always been mixed), but that no one is paying for it—at least not yet.
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One strategy is for individual blogs to scale up to a size where their writers become popular “personal brands”. This has happened in political punditry and may happen in entertainment writing. But it is unlikely in visual arts journalism, where audiences even for top writers are thin.
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A more realistic, already extant scenario links blogs to heavily trafficked journalism, entertainment, or aggregator sites, which attract large numbers of readers by providing access to a wide range of news content...Under such arrangements, bloggers get a cut of the advertising fees along with greater visibility...
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When it comes to fair and balanced reporting, the record is mixed. On the one hand, bloggers are breaking stories, with arts organisations (or their disgruntled employees) obliging them with excellent scoops.
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Philanthropy can help to build a new arts journalism infrastructure to offset the collapse of local coverage.
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This brings us to the third, and arguably most controversial, cure for the ills of arts journalism—cultural organisations.
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Writers will struggle to reclaim the access and influence they achieved with the backing of prestigious journalism brands.
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Our notion of what a “news organisation” or an “art magazine” is supposed to do will be upended as new relationships crystallise between the arts, the media and the public.

looking to define the current movement?

pics:artnet

Altermodern – Tate Triennial 2009
curated by Nicolas Bourriaud
@ Tate Britain
4 February – 26 April 2009

PR:
"...Many signs suggest that the historical period defined by postmodernism is coming to an end: multiculturalism and the discourse of identity is being overtaken by a planetary movement of creolisation; cultural relativism and deconstruction, substituted for modernist universalism, give us no weapons against the twofold threat of uniformity and mass culture and traditionalist, far-right, withdrawal.
The times seem propitious for the recomposition of a modernity in the present, reconfigured according to the specific context within which we live – crucially in the age of globalisation – understood in its economic, political and cultural aspects: an altermodernity.
If twentieth-century modernism was above all a western cultural phenomenon, altermodernity arises out of planetary negotiations, discussions between agents from different cultures. Stripped of a centre, it can only be polyglot. Altermodernity is characterised by translation, unlike the modernism of the twentieth century which spoke the abstract language of the colonial west, and postmodernism, which encloses artistic phenomena in origins and identities...The Tate Triennial 2009 presents itself as a collective discussion around this hypothesis of the end of postmodernism, and the emergence of a global altermodernity." Nicolas Bourriaud

it's herrrrrreeeee....

from ARTNET:
ART PERFORMANCE DEBUTS ON FACEBOOK
Performance art has definitely entered its 2.0 phase. Facebook, the increasingly popular online social-networking tool, is now the site for a day-long online performance by Boston artist Rachel Perry Welty. Called Rachel Is, the performance takes place via Facebook’s signature "status bar," which Facebook users routinely fill in to mark their mood, activity or general presence. Welty promises to update her status every minute for about 16 hours, from the time she gets up in the morning till she goes to sleep at night. "My hope is to raise questions about narcissism, voyeurism, privacy, identity and authority in a technological world," she writes. To view the performance, however, computer-savvy art-lovers have to join Facebook and request to become one of Welty’s friends -- which suggests that at least part of the artist’s activities will be Facebook "housekeeping."