minaya wallpaper1
/ RMW

Wallpaper

There are two kinds of beauty, free beauty (pulchritudo vaga) and merely accessory beauty (pulchritudo adhaerens). Free beauty does not presuppose a concept of what the object is [meant] to be. Accessory beauty does presuppose such a concept, as well

minaya wallpaper1
/ RMW

Wallpaper

There are two kinds of beauty, free beauty (pulchritudo vaga) and merely accessory beauty (pulchritudo adhaerens). Free beauty does not presuppose a concept of what the object is [meant] to be. Accessory beauty does presuppose such a concept, as well

untitled-book.jpg!Blog
/ RMW

Philip Guston’s “Don’ts”

Don’t paint to prove an idea. Don’t paint prove what’s right. Don’t paint to be loved. Don’t decorate rectangles. Don’t accept notions, myths, shibboleths. Don’t accept. Question. Everything. I don’t want to feel caught by my own ideas. I don’t

untitled-book.jpg!Blog
/ RMW

Philip Guston’s “Don’ts”

Don’t paint to prove an idea. Don’t paint prove what’s right. Don’t paint to be loved. Don’t decorate rectangles. Don’t accept notions, myths, shibboleths. Don’t accept. Question. Everything. I don’t want to feel caught by my own ideas. I don’t

James Lee Byars
/ GLS

Spectres of James Lee Byars

I began to look at the work of James Lee Byars last year, after the death of Thomas McEvilley, when a number of the subsequent obituaries and reminiscences mentioned that the scholar had been one of the artist’s champions. To

James Lee Byars
/ GLS

Spectres of James Lee Byars

I began to look at the work of James Lee Byars last year, after the death of Thomas McEvilley, when a number of the subsequent obituaries and reminiscences mentioned that the scholar had been one of the artist’s champions. To

IMG_1581
/ RMW

Permanent Collection: The Celebration of the Mass, ca. 1930-35

“In his seminar on the gaze Lacan retells the classical tale of the trompe-l’oeil contest between Zeuxis and Parrhasios. Zeuxis paints grapes in a way that lures birds, but Parrhasios paints a veil in a way that deceives Zeuxis, who

IMG_1581
/ RMW

Permanent Collection: The Celebration of the Mass, ca. 1930-35

“In his seminar on the gaze Lacan retells the classical tale of the trompe-l’oeil contest between Zeuxis and Parrhasios. Zeuxis paints grapes in a way that lures birds, but Parrhasios paints a veil in a way that deceives Zeuxis, who

Wayne Thiebaud
/ GLS

Art for Airports

The San Francisco International Airport showcases some surprising, serious art. On my way from the arrival gate to ground transportation, I encountered a big Jay Defeo painting. A Wayne Thiebaud and a Robert Bechtle followed. Ned Kahn’s Wind Portal, a

Wayne Thiebaud
/ GLS

Art for Airports

The San Francisco International Airport showcases some surprising, serious art. On my way from the arrival gate to ground transportation, I encountered a big Jay Defeo painting. A Wayne Thiebaud and a Robert Bechtle followed. Ned Kahn’s Wind Portal, a

Left: Elizabeth Murray. Dotty. 2000. Woodcut.
Right: James Siena. Battery. 2002. Reduction linoleum cut. 
Image credit: Planthouse
/ RMW

Printers and Proofs

“Proof”at Planthouse gallery in New York presents the work of three master printers and publishers: Leslie Miller (The Grenfell Press), Ruth Lingen (Poote Press), and Jennifer Melby. Printers’ names are not generally household names. There are a handful—Aldo Crommelynck, Stanley William Hayter,

Left: Elizabeth Murray. Dotty. 2000. Woodcut.
Right: James Siena. Battery. 2002. Reduction linoleum cut. 
Image credit: Planthouse
/ RMW

Printers and Proofs

“Proof”at Planthouse gallery in New York presents the work of three master printers and publishers: Leslie Miller (The Grenfell Press), Ruth Lingen (Poote Press), and Jennifer Melby. Printers’ names are not generally household names. There are a handful—Aldo Crommelynck, Stanley William Hayter,