Art—History And Criticism
The artist talks about the genesis, composition, and execution of a recently completed work.
We listen in as two painters talk painting, studio practice, and the way their works live out in the world.
If you’ve ever taken a course about modern and contemporary art history, chances are you know that Minimalist sculptor Donald Judd wrote the lively essay “Specific Objects” in 1965. But you may not know that Judd wrote throughout his thirty-five-year career.
With The Seasons in Quincy, filmmakers Tilda Swinton, Colin MacCabe, and Christopher Roth produce portraits of art critic and novelist John Berger.
“Liberty’s show manages to be about prison and not about prison at the same time: her audience writes about how the music lets them forget they’re incarcerated for a moment, and she calls that effect ‘time travel.’”
“A writer worried about reception is cooking a dead book. A writer’s job is to produce the best possible book in absolute freedom, so the category ‘acceptable’ does not play in the process at all.”
A 1971 photograph by Jan van Raay shows artist Cliff Joseph leading a group of artist-activists—members of the Black Emergency Cultural Coalition (BECC)—in the dead of winter protesting the Whitney Museum’s controversial exhibition Contemporary Black Artists in America (months before its opening on April 7, 1971).
Breaking the Frame, a film by Marielle Nitoslawska about Schneemann’s unique legacy, serves as a departure point for an exchange about the “beauty paradox,” historical and contemporary patriarchies, and the artist’s ongoing subversion of gender codes.
An illustrious French intellectual once called for a moratorium on the authorial attribution of texts.
Renée Green’s collection, Other Planes of There, which spans over twenty years of the artist’s career, holds an alluring sense of return for me, offering a kind of fossil record of an evolving debate among progressive artists and cultural critics.
With the landmark publication of De humani corporis fabrica in 1543, Vesalius may have forever linked human anatomy, at least pictorially, with the aesthetics of the sixteenth-century woodcut—its perfect draftsmanship, edifying gore, and rather ham-handed theatricality.
Paper Clip is a weekly compilation of online articles, artifacts and other—old, new, and sometimes BOMB-related.
Paper Clip is a weekly compilation of artifacts, both old and new, and sometimes BOMB-related.
Kari Adelaide reflects on the site and exhibition at the New York Public Library that explores Frederic Church’s art and life through photography.
Montana Wojczuck returns with an investigation—nay, exploration—of German wildman Werner Herzog’s latest film, Cave of Forgotten Dreams.
Seen, Written is filled with fluid and poetic dissertations on a wide range of artists and their work, standouts among them the essays on Carroll Dunham, Brice Marden, and Louisiana shaman Keith Sonnier.
The Whitney’s Off the Wall: Part 1 raises questions about museums’ duty and capacity to preserve and re-present performance art—the extent to which it can be preserved, and the ethical implications of bottling, as it were, such an immediate form of artistic expression. John Sherman reviews the show.