Author Archives: mostperfectworld
“We Are Pleased To Announce”
These works will present a negotiation of practices. Critical frameworks abound: a dedication to manipulation and subversion is evident. The artist offers his thoughts: “I like the idea that the viewer might be frozen.” Throughout the exhibition, the various textures
“We Are Pleased To Announce”
These works will present a negotiation of practices. Critical frameworks abound: a dedication to manipulation and subversion is evident. The artist offers his thoughts: “I like the idea that the viewer might be frozen.” Throughout the exhibition, the various textures
Permanent Collection: Thomas Nozkowski, Untitled, 1979
It’s a small work, the horizontal format measuring something like sixteen by twenty inches. A single large abstract form, offset to the left, dominates the composition. This form resembles a lean-to shanty, associations strengthened by the context: to the left,
Permanent Collection: Thomas Nozkowski, Untitled, 1979
It’s a small work, the horizontal format measuring something like sixteen by twenty inches. A single large abstract form, offset to the left, dominates the composition. This form resembles a lean-to shanty, associations strengthened by the context: to the left,
Concretions
Initial Deposits By all accounts, the term “Concrete Art” was first coined by Theos Van Doesburg in a manifesto, “The Basis of Concrete Art,” which was published in the one-off magazine Art Concret in 1930.1 Laying out the basic tenets
Concretions
Initial Deposits By all accounts, the term “Concrete Art” was first coined by Theos Van Doesburg in a manifesto, “The Basis of Concrete Art,” which was published in the one-off magazine Art Concret in 1930.1 Laying out the basic tenets
Plasticke, Neo-Plastic, Plastic
The OED’s first listing for “plastic,” sense A. 1a, reads: “the art of modelling or sculpting figures, esp. in clay or wax.” Richard Haydocke furnishes the first and second instances of the word’s usage in his 1598 translation of G.P.
Plasticke, Neo-Plastic, Plastic
The OED’s first listing for “plastic,” sense A. 1a, reads: “the art of modelling or sculpting figures, esp. in clay or wax.” Richard Haydocke furnishes the first and second instances of the word’s usage in his 1598 translation of G.P.
The Book of Lagoons
For us it was a moment we didn’t know it had begun until we were already in the middle These lines open The Book Of Lagoons1, a work by Helen Mayer Harrison and Newton Harrison in “State of Mind: New
The Book of Lagoons
For us it was a moment we didn’t know it had begun until we were already in the middle These lines open The Book Of Lagoons1, a work by Helen Mayer Harrison and Newton Harrison in “State of Mind: New
“Reinventing (Provisional Painting) [as] ‘Impure {Abstraction'” Out of Bounds}
Art critic and poet Raphael Rubinstein has curated an exhibit, “Reinventing Abstraction: New York Painting in the 1980s,” which is up through the end of August at Cheim & Read (547 25th st. NY). In his exhibition catalog essay,*
“Reinventing (Provisional Painting) [as] ‘Impure {Abstraction'” Out of Bounds}
Art critic and poet Raphael Rubinstein has curated an exhibit, “Reinventing Abstraction: New York Painting in the 1980s,” which is up through the end of August at Cheim & Read (547 25th st. NY). In his exhibition catalog essay,*
Most Perfect World at Brooklyn Rail
Read our review of “Jack Goldstein x 10,000” at the Jewish Museum (May 10 — Sept. 29, 2013), here: MPW on Jack Goldstein at Brooklyn Rail
Most Perfect World at Brooklyn Rail
Read our review of “Jack Goldstein x 10,000” at the Jewish Museum (May 10 — Sept. 29, 2013), here: MPW on Jack Goldstein at Brooklyn Rail
Curve, Peak, Pit, and Channel
Some dozen of the extant Pieter Bruegel the Elder paintings, a clear plurality, belong to the Vienna Kunsthistorisches1. As an earlier post related, MPW’s visit to the institution coincided with an Ed Ruscha-curated exhibition, for which Ruscha had cherry-picked two
Curve, Peak, Pit, and Channel
Some dozen of the extant Pieter Bruegel the Elder paintings, a clear plurality, belong to the Vienna Kunsthistorisches1. As an earlier post related, MPW’s visit to the institution coincided with an Ed Ruscha-curated exhibition, for which Ruscha had cherry-picked two
Seriously Funny, Part Two: The Method In The Madness Is Sometimes Funny
But I get ahead of myself. If I’m discussing methodicalness, I really ought to take it one step at a time. I probably should have ended Part One, “I am intrigued, though, to begin to imagine a comedy that is
Seriously Funny, Part Two: The Method In The Madness Is Sometimes Funny
But I get ahead of myself. If I’m discussing methodicalness, I really ought to take it one step at a time. I probably should have ended Part One, “I am intrigued, though, to begin to imagine a comedy that is
Seriously Funny, Part One: Variably Funny
When I saw Andrew Masullo’s paintings at Mary Boone a few weeks back, they struck me then, as they did the first time I saw his work in person, at last year’s Whitney Biennial, as both smart and funny. They’re
Seriously Funny, Part One: Variably Funny
When I saw Andrew Masullo’s paintings at Mary Boone a few weeks back, they struck me then, as they did the first time I saw his work in person, at last year’s Whitney Biennial, as both smart and funny. They’re
apelles paints campaspe
At the Kunsthistorisches Museum in Vienna, in a room nestled amidst two rooms filled with Rubens, the “Van Eyke room”, and the “Pieter Breugel the Elder room,” this large painting by the lesser-known Flemish painter, Jodocus de Winghe, could be
apelles paints campaspe
At the Kunsthistorisches Museum in Vienna, in a room nestled amidst two rooms filled with Rubens, the “Van Eyke room”, and the “Pieter Breugel the Elder room,” this large painting by the lesser-known Flemish painter, Jodocus de Winghe, could be
Literature in the Art of Joseph Cornell (and Vice Versa)
John Ashbery opens his 1967 review of Joseph Cornell’s Guggenheim exhibition with two epigraphs. The first, from Rimbaud’s A Season in Hell, is uncannily and self-evidently appropriate: I loved stupid paintings, decorated transoms, stage sets, carnival booths, signs, popular engravings;
Literature in the Art of Joseph Cornell (and Vice Versa)
John Ashbery opens his 1967 review of Joseph Cornell’s Guggenheim exhibition with two epigraphs. The first, from Rimbaud’s A Season in Hell, is uncannily and self-evidently appropriate: I loved stupid paintings, decorated transoms, stage sets, carnival booths, signs, popular engravings;
Kurbis Kopfstücke
The Belvedere in Vienna has sixteen of Franz Xaver Messerschmidt’s so-called “character heads” in their collection. Messerschmidt, born in Bavaria in 1736, studied sculpture and completed early court commissions in Vienna until his sudden departure in 1770, after what is
Kurbis Kopfstücke
The Belvedere in Vienna has sixteen of Franz Xaver Messerschmidt’s so-called “character heads” in their collection. Messerschmidt, born in Bavaria in 1736, studied sculpture and completed early court commissions in Vienna until his sudden departure in 1770, after what is
You Have to Read a Lot
A small tour passed through the Lucy Lippard show at the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art. “This art is conceptual,” explained the guide, “you have to read a lot to understand it.” I am of at
You Have to Read a Lot
A small tour passed through the Lucy Lippard show at the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art. “This art is conceptual,” explained the guide, “you have to read a lot to understand it.” I am of at
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