Category Archives: GLS

by Garth Swanson

/ 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

/ 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

/ 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

/ 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

/ GLS

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

/ GLS

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

/ GLS, RMW

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

/ GLS, RMW

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

/ GLS

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

/ GLS

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

/ GLS

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

/ GLS

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