Wandering Eye: The Tiki Barge is for sale, the art world's 'Patron Satan,' and more

Hello, fellow yachtspeople! As the snow rolls in on winter's winds, every sailing man and woman turns lightly to thoughts of a new boat. Now, sure, that Hatteras GT63 is a stunner, and that Catalina Ocean Series 45 is kinda cute. But, really, haven't we all already owned one (or two!) of those? If you really want to make a splash this year, this is the vessel for you: 120 feet long with "two bars, large pool, bathhouse and food prep areas," the Tiki Barge will absolutely stun them at Cannes, and she'll fit right in at Freeport and South Beach. Now, of course, she's a bit down on power, being a barge. But for only $1 million you're still miles ahead of those douchepuddles building Benettis! And is there a law saying you can't fit a few 16-cyliner MTU triple-turbos in there? No, there is not! Another million or six and you'll have that baby planing at 30 knots, easy! Tiki Barge, baby! Caution: There is one thing you should never do with a 16,000-horsepower Tiki Barge, and that is use it to ram Mark Cuban's boat in half in the deep waters off Miami. The urge will be there. But don't do it. (Edward Ericson Jr.)


The Los Angeles Times' David L. Ulin revels in the joys of being an aging writer, having found it being celebrated by the Tumblr page 35 Over 35, where he finds "assurance that writing is a lifelong engagement, a marathon and not a sprint." While Ulin is well past 35, he writes that "a list such as 35 Over 35 renews my faith in the long haul, which is what literature, expression, is about." (Van Smith)


The New York Times Magazine has a lengthy profile on the personification of everything gross with the art world. Meet Stefan Simchowitz, a L.A.-based powerbroker in modern art whose influence can help make a young artist a national name. His clients include movie stars, professional athletes, and many other people with tons of money to burn. But he's different than speculators who hop into the lucrative art market and view pieces the same way they look at stocks and bonds, he says. Simchowitz will stake young artists and help them get their careers off the ground. He'll connect them with his book of clients that may not be able to go bidding on high-dollar items such as an Andy Warhol but are interested in finding the next big thing. That's the positive spin Simchowitz would like you to believe. But there's another side casting him as an exploiter of young talent and a manipulator of the art market who has little in the way of taste. Regardless of your thoughts on art, this profile makes for an engrossing read. (Brandon Weigel)

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