Category Archives: 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
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
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
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
Two Palaces at Four A.M.
Duncan, a Bottom-headed monarch, writes an autobiography. Regret wells. An underling composes a letter to the king’s former lover, who is a bogle.1 In the letter, pomp and reminiscence alternate until, finally, desperate entreaty breaks through. Reading the epistle, we
Two Palaces at Four A.M.
Duncan, a Bottom-headed monarch, writes an autobiography. Regret wells. An underling composes a letter to the king’s former lover, who is a bogle.1 In the letter, pomp and reminiscence alternate until, finally, desperate entreaty breaks through. Reading the epistle, we
Dialogue 1: Forrest Bess
GLS: Robert Gober seems nice. RMW: [Crosses the room. Fills a glass of water.] The Neuberger Museum was interesting. Their permanent collection surprised me: that early Guston, Night Children, the big Diebenkorn you pointed out, the Hartigan with all the
Dialogue 1: Forrest Bess
GLS: Robert Gober seems nice. RMW: [Crosses the room. Fills a glass of water.] The Neuberger Museum was interesting. Their permanent collection surprised me: that early Guston, Night Children, the big Diebenkorn you pointed out, the Hartigan with all the
Oil on TV
Ken Okiishi recently showed some ten or so works from his Gesture / data series at Reena Spaulings. The idea’s quite simple, really. It’s a wonder no one’s done this before. Actually, I didn’t check— because it’s difficult to imagine
Delineation v. Eating
If you didn’t see Richard Serra’s Delineator at MoMA, sorry: for the time being, you seem to have missed your chance. I caught the work back in the fall but, stopping in again the other day, was told it had
Delineation v. Eating
If you didn’t see Richard Serra’s Delineator at MoMA, sorry: for the time being, you seem to have missed your chance. I caught the work back in the fall but, stopping in again the other day, was told it had
The New Art and the Anthological
I worked for a time at a used book seller— not at a bookshop, mind you, but one of those vendors you see listed on Amazon or Abebooks. We’d buy books in bulk, generally from overstocked thrift stores, sort through
The New Art and the Anthological
I worked for a time at a used book seller— not at a bookshop, mind you, but one of those vendors you see listed on Amazon or Abebooks. We’d buy books in bulk, generally from overstocked thrift stores, sort through
“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,
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
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
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