Jeremy Gilbert-Rolfe

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Todd Cronan by Jeremy Gilbert-Rolfe
Todd Cronan Henri Matisse 1

“Here are some marks, what do they mean?”

Christian Haub by Jeremy Gilbert-Rolfe
Roy Orbison Float

Christian Haub’s Floats are plexiglass constructions that are looked through as well as at. The artist discusses the place these works have in his long, underrated career.

Olivia Booth and Rebecca Norton by Jeremy Gilbert-Rolfe
Olivia Booth 01

Olivia Booth and Rebecca Norton’s works address the body directly by involving us in an involuntary relationship to interiority, in which it’s inseparable from the exterior—surface, skin, or the space in front of either.

Michael Goldberg: In Memoriam, December 24, 1924–December 30, 2007 by Klaus Kertess, Lucio Pozzi, Ellen Phelan, Jeremy Gilbert-Rolfe, Betsy Sussler, Luke Matthiessen & Gerald Jay Goldberg
Goldberg 1 Body

Michael Goldberg was our hero. Larger than life, he sauntered up to the plate and took on the mantle as our all-American myth because we needed a hero.

Liz Larner by Jeremy Gilbert-Rolfe
Larner 01

The crowd at the December, 2001 opening of Liz Larner’s show at the Museum of Contemporary Art in Los Angeles was enormous. 

Notes from the Editors: September 11 by Glenn O'Brien, Leslie Dick, Jeremy Gilbert-Rolfe, Craig Lucas, Deborah Eisenberg, Betsy Sussler, Silvana Paternostro, Mary Morris, Alison Summers & Jack Stephens

Everyone in New York has cried a wall of tears since it happened.

No Justice, No Peace by Jeremy Gilbert-Rolfe

I was up early in the morning and saw and heard the television reports as it happened. I was shocked but not surprised.

David Ryan’s Crossings by Jeremy Gilbert-Rolfe
66 David Ryan Body

David Ryan’s work reminds one that while most contemporary art works like furniture—its inertia facilitating conversation on almost any topic (except art) that might go on around it—painting has to exceed its literal identity as an object if it is to be more than a critique of itself.

Rose Nolan by Jeremy Gilbert-Rolfe
Rose Nolan

Rose Nolan makes two things, both of which recall Constructivism: banners bearing Cyrillic initials, underscoring their art historical provenance but replacing a collective referent with a personal one; and constructions, made out of cardboard and tape, which have a distinctly Tatlinish look. 

Brice Marden’s The Muses at the Venice Biennale by Jeremy Gilbert-Rolfe
Marden 2 Body

Brice Marden’s The Muses is a marvelous painting, horizontal but consisting of vertical linear movements which will reassure those who find relief in the potentially figurative.

Sylvia Heisel by Jeremy Gilbert-Rolfe
Heisel 01A Body

“People’s bodies haven’t changed but women’s clothes especially can completely distort.” Sylvia Heisel

Abbijane by Jeremy Gilbert-Rolfe
Abbijane 1 Body

“There’s nothing more annoying than walking down the street and seeing 4,000 guys with fucking baseball caps on. What do they hide their eyes for? If you look them straight in the eye, they turn their head.”

A Thigh-Length History of the Fashion Photograph, An Abbreviated Theory of the Body by Jeremy Gilbert-Rolfe & Stephanie Hermsdorf
John Bishop 01

The 20th century has tended to be an undoing of the 19th: the collapse of empires almost as soon as they’d been built, the disuniting of Germany, the failure of the American dream. 

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