The institution of institutional critique
Old iconography in a new France
“The reward is getting through the tough stuff. And that’s what’s perplexing about the art thing. When I was going to school there were kids that could draw their asses off. There were kids that were better draftsman than me, for certain. But no one was more determined than me.”
Early film, nineteenth-century science fiction, and experimental musical languages serve a young artist’s explorations of race and our political present.
“She wasn’t loved, so she didn’t know how to give love.”
Lucy R. Lippard collects the history of Conceptual Art in this polyphonic text.
Faking It: Manipulated Photography before Photoshop is a catalogue for the exhibition Mia Fineman curated on early photographers’ efforts to revise their original photographs.
Alejandro Cesarco works brazenly in a tradition, the aesthetic confines of classic conceptual art. In his work, text prevails over image—replacing it or transforming it.
An artists on artists text on Photographer Mark Klett by Darius Himes, accompanied by several photographs by Mark Klett, the first titled Three Views of the Site of Comstock Mines.
Elizabeth Murray and Jennifer Bartlett, painters and lifelong friends, reminisce about the ambitious New York art world of the 1960s and ‘70s in this Fall/2005 interview.
Here we are, if not on the frontlines of the culture war, then at least among the reserve forces.
It is usual these days to look back at the invention of photography in the mid-19th century as a welcome event in technological progress that enabled an exciting new form of representation: a moment captured and represented as fact.
Portraiture is about many things: how the subject relates to the photographer or painter, and where the subject’s gaze lies.
When Ellen Phelan first told me about her plan to work with existing photographs—family-album snapshots of her life from childhood through adulthood, some shot by her father and others by her husband, Joel Shapiro—I was immediately touched and intrigued.
Suzanne Bocanegra and I met recently at a tiny coffee shop to talk about her drawings. I have always loved her work, though I have rarely thought about why.
Like that of the magnified moth on the cover of its third issue, The Ganzfeld‘s wingspan is wider and stranger than its modest self-description as “an annual book of pictures and prose.”