Category Archives: 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
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
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
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
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
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,
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,
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
Reflections on Johns’ “Regrets”
The series of images from Jasper Johns’ “Regrets” show at MoMA derive from a photograph of Lucian Freud taken by John Deakin around 1964. The photograph was commissioned by Francis Bacon for his Three Studies of Lucian Freud—the triptych that
Reflections on Johns’ “Regrets”
The series of images from Jasper Johns’ “Regrets” show at MoMA derive from a photograph of Lucian Freud taken by John Deakin around 1964. The photograph was commissioned by Francis Bacon for his Three Studies of Lucian Freud—the triptych that
Measure for Immeasure: Chris Burden at the New Museum
The film begins with an extreme close-up shot of a young man’s face, his forehead and chin partially cropped out of the frame, his head centered on a nondescript, mottled black background. He has light skin, dark hair, thick eyebrows,
Measure for Immeasure: Chris Burden at the New Museum
The film begins with an extreme close-up shot of a young man’s face, his forehead and chin partially cropped out of the frame, his head centered on a nondescript, mottled black background. He has light skin, dark hair, thick eyebrows,
“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
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
“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
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
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
Berlin Neue Nationalgalerie: Observations
Things have quieted down. Che fare? Was tun? Foolish feeling foolish feelings. How to go? What put? What to do? There comes and goes a green dog, a red dog, a white dog, a black and blue dog. Or, is
Berlin Neue Nationalgalerie: Observations
Things have quieted down. Che fare? Was tun? Foolish feeling foolish feelings. How to go? What put? What to do? There comes and goes a green dog, a red dog, a white dog, a black and blue dog. Or, is
mostperfectworld 