We’re fascinated by Lady Gaga. But despite her numerous collaborations, leotards and intellectual pursuits, she remains a rather divisive celebrity. There are some major Gaga haters out there — including the newest member of the tribe, Grace Jones. (Not that we’re judging Grace; Gaga totally ripped off her shtick.) But there are plenty of other famous people mouthing off about the pop star who we’re surprised even know her name. After the jump, a roundup of our favorite random disses.

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Hyperallergic correspondent Lisa Radon was on hand yesterday to catch a few choice statements made by New Museum head curator Richard Flood as part of a talk on “Creating Networks” at the Portland Art Museum, a lecture that began with a “sharply traced” viewpoint of the art world vis-a-vis Flood’s own impressive career and ended with a “wildly out-of-touch” conversation about art and the internet.

Radon’s presence at the talk, and her blog post thereafter, are direct contradictions to Flood’s assertion that the internet is a self-mutating chat room with no narrative, history, or scope. And what was the curator’s purpose in revealing that he “just found out about blogs three months ago”? Is it a confusing and convoluted ruse, a plot designed to jumpstart a new discussion in the arts community? Read what else Radon recorded after the jump and judge for yourselves.

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Artist and provocateur William Powhida — who once predicted the post-boom odds of fellow contemporaries like Dash Snow — has issued a challenge to the New Museum on Bowery in his latest piece, which graces the cover of this month’s Brooklyn Rail. As an emerging artist in New York, Powhida’s satires of the art world cognoscenti hit close to home, and the skewering of the only museum in town that tries to cater to young artists and patrons is gutsy, to say the least. His drawing “How the New Museum Committed Suicide with Banality” depicts all the usual suspects, from Jeff Koons and critics Paddy Johnson and Tyler Green to museum director Lisa Phillips and curator Massimiliano Gioni. Urs Fischer, whose one-man show currently occupies floors two through four, is referenced as well, though we beg to differ that his exhibition “Margeurite de Ponty” is contributing to the NuMu’s so-called “self-injury.” See why, after the jump.

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