Category Archives: GLS
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
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
Between The Ancients and The Moderns
It became a familiar curatorial move: the inclusion of a few works of contemporary art interspersed among collections of more venerable, more properly art-historical art. The thinking seems clear: it’s win-win, isn’t it? Potential stuffiness is relieved; connections are made;
Between The Ancients and The Moderns
It became a familiar curatorial move: the inclusion of a few works of contemporary art interspersed among collections of more venerable, more properly art-historical art. The thinking seems clear: it’s win-win, isn’t it? Potential stuffiness is relieved; connections are made;
Richard Serra In Public
Richard Serra is responsible for what is perhaps the most infamous public sculpture of modern times (possibly excepting some sundry effigies of deposed dictators.) The history and surrounding controversy of his Tilted Arc have been extensively documented and analyzed, and
Richard Serra In Public
Richard Serra is responsible for what is perhaps the most infamous public sculpture of modern times (possibly excepting some sundry effigies of deposed dictators.) The history and surrounding controversy of his Tilted Arc have been extensively documented and analyzed, and
The Flowing Obscurity
Sometimes, and it’s not always clear why, you get an itch to see a particular work of art or the work of a particular artist. This happened to me about a month ago: I had to see some Albert Pinkham
The Flowing Obscurity
Sometimes, and it’s not always clear why, you get an itch to see a particular work of art or the work of a particular artist. This happened to me about a month ago: I had to see some Albert Pinkham
Körperdruck
Bruce Nauman’s Body Pressure is on long-term view at Dia:Beacon. The piece, text on paper, sits in a stack on the basement floor. Printed black-on-pink, the poster-sized pages are available for free: take one, please; the stack will be replenished.
Körperdruck
Bruce Nauman’s Body Pressure is on long-term view at Dia:Beacon. The piece, text on paper, sits in a stack on the basement floor. Printed black-on-pink, the poster-sized pages are available for free: take one, please; the stack will be replenished.
But Let Us Return To The Plane; Again Let Us Return To The Plane.
About a year ago, I spent an afternoon hunkered down in a tent in the desert of the southwest corner of Oregon. I was dodging roaming clouds of gnats and an oppressive heat, and I was battling a sudden, heavy
But Let Us Return To The Plane; Again Let Us Return To The Plane.
About a year ago, I spent an afternoon hunkered down in a tent in the desert of the southwest corner of Oregon. I was dodging roaming clouds of gnats and an oppressive heat, and I was battling a sudden, heavy
Power Flight
Joe Overstreet’s Power Flight can be seen at the Brooklyn Museum. The work, made in 1971, consists of multiple canvas panel– six of them– stained with acrylic. The panels alternate red and black, except at the machine-sewn seams, which have
Power Flight
Joe Overstreet’s Power Flight can be seen at the Brooklyn Museum. The work, made in 1971, consists of multiple canvas panel– six of them– stained with acrylic. The panels alternate red and black, except at the machine-sewn seams, which have
mostperfectworld 