Jasper Johns: Regrets Museum of Modern Art Through September 1, 2014
The image is dead. The icon is dead. The painting is dead. - Patricia Cronin
Keep everything on the surface, even with the knowledge that the surface fades and can't be held together forever -- take advantage before the expiration date appears in the nearing distance. - Bret Easton Ellis, Imperial Bedrooms
Art asks: How do we know anything about other people? The tension between an artist's public and private roles is a constant preoccupation to the audience. The artist is challenged to dwell within this conundrum and elaborate most fully the questions of how to articulate the private in a public forum, and whether the private life will be able to find an image for itself that can stand up in this forum. - Dr. Hope Ardizzone, Anatomy of Art's Murder
During this test you will be shown a series of inkblot images.
The image is dead. The icon is dead. The painting is dead. - Patricia Cronin
Keep everything on the surface, even with the knowledge that the surface fades and can't be held together forever -- take advantage before the expiration date appears in the nearing distance. - Bret Easton Ellis, Imperial Bedrooms
Art asks: How do we know anything about other people? The tension between an artist's public and private roles is a constant preoccupation to the audience. The artist is challenged to dwell within this conundrum and elaborate most fully the questions of how to articulate the private in a public forum, and whether the private life will be able to find an image for itself that can stand up in this forum. - Dr. Hope Ardizzone, Anatomy of Art's Murder
During this test you will be shown a series of inkblot images.
- 3/21/2014
- by bradleyrubenstein
- www.culturecatch.com
Michel Majerus Matthew Marks Gallery, NY "I create, you copy nature." Pablo Picasso, in conversation with Balthus "In the [19]90s painting didn’t repel criticism; it absorbed it… fake painting created fake criticism." Dr. Hope Ardizzone, The Death of the Death Motif in Post-Millennial Painting "Even the paintings looked dead…" Margaret Atwood, The Handmaid's Tale The audience has a taste for shit. The critics have a taste for shit. James Franco, Actors Anonymous "Wie man dem toten Hasen die Bilder erklärt" Joseph Beuys, Action, 26 November 1965 at the Galerie Schmela in Düsseldorf
(image above, depressive neurosis 2000 Acrylic on cotton 102 1/4 x 177 inches; 260 x 450 cm)
James Franco's body was found yesterday in the toilet of a club called Cisboi, so we are at one of the Gagosian galleries tonight sitting shiv and waiting for Marina Abramović and Willem Dafoe to read excerpts from Franco's many books [James Franco: Dangerous Book Four Boys, A California Childhood, Actors Anonymous, Palo Alto: Stories] -- the "we" being Michael Lee Nirenberg,...
(image above, depressive neurosis 2000 Acrylic on cotton 102 1/4 x 177 inches; 260 x 450 cm)
James Franco's body was found yesterday in the toilet of a club called Cisboi, so we are at one of the Gagosian galleries tonight sitting shiv and waiting for Marina Abramović and Willem Dafoe to read excerpts from Franco's many books [James Franco: Dangerous Book Four Boys, A California Childhood, Actors Anonymous, Palo Alto: Stories] -- the "we" being Michael Lee Nirenberg,...
- 2/21/2014
- by bradleyrubenstein
- www.culturecatch.com
Allison Schulnik: Eager
ZieherSmith Gallery, NYC
Through February 22, 2014 And it's a battered old suitcase to a hotel someplace and a wound that will never heal no prima donna, the perfume is on an old shirt that is stained with blood and whiskey and goodnight to the street sweepers, the night watchmen flame keepers and goodnight Mathilda, too.
Tom Waits, "Waltzing Mathilda"
"The Hobo, as a visual trope, represents the last truly transgressive figure in art… kitsch paintings of clown-like characters with bindlestiffs and colorful handkerchiefs camouflage a predatory underclass of thieves, pedophiles, rapists, and murderers."
Dr. Hope Ardizzone, Oblivion and Contingency in Post-Modern Painting
Allison Schulnik's second exhibition at ZieherSmith presents drawings, sculpture, paintings, and installation pieces surrounding and supporting her most recent animated film, Eager (2013). Schulnik, drawing from a variety of sources (Busby Berkeley, Lewis Carroll, her former teachers Jules Engel and Corny Cole, Bob Ross, and Antoine Watteau) choreographs a stop-motion,...
ZieherSmith Gallery, NYC
Through February 22, 2014 And it's a battered old suitcase to a hotel someplace and a wound that will never heal no prima donna, the perfume is on an old shirt that is stained with blood and whiskey and goodnight to the street sweepers, the night watchmen flame keepers and goodnight Mathilda, too.
Tom Waits, "Waltzing Mathilda"
"The Hobo, as a visual trope, represents the last truly transgressive figure in art… kitsch paintings of clown-like characters with bindlestiffs and colorful handkerchiefs camouflage a predatory underclass of thieves, pedophiles, rapists, and murderers."
Dr. Hope Ardizzone, Oblivion and Contingency in Post-Modern Painting
Allison Schulnik's second exhibition at ZieherSmith presents drawings, sculpture, paintings, and installation pieces surrounding and supporting her most recent animated film, Eager (2013). Schulnik, drawing from a variety of sources (Busby Berkeley, Lewis Carroll, her former teachers Jules Engel and Corny Cole, Bob Ross, and Antoine Watteau) choreographs a stop-motion,...
- 1/17/2014
- by bradleyrubenstein
- www.culturecatch.com
Julian Schnabel: The Walk Home The Brant Foundation Art Study Center Opened November 11, 2013
“Must we learn again the simple, forthright experience of actually seeing a painting?” William Gaddis
“In the end, we cultural theorists are the coroners of history, writing our forensic reports on a marble slab table about a murder victim—painting.” Dr. Hope Ardizzone, Cultural Theorist/Author
One might arguably make the case, after viewing Julian Schnabel’s retrospective at The Brant Foundation Art Study Center, that he is the heir to Barnett Newman’s painterly legacy, for no artist since Newman has placed such importance and urgency on the act of painterly gesture. Possibly a stretch, though Schnabel has never shied away from the grand gesture or statement, but given (or despite) the expansiveness of Schnabel's thirty-year career he does come very close to Newman’s ideal of an Artist.
Newman believed that to create oneself...
“Must we learn again the simple, forthright experience of actually seeing a painting?” William Gaddis
“In the end, we cultural theorists are the coroners of history, writing our forensic reports on a marble slab table about a murder victim—painting.” Dr. Hope Ardizzone, Cultural Theorist/Author
One might arguably make the case, after viewing Julian Schnabel’s retrospective at The Brant Foundation Art Study Center, that he is the heir to Barnett Newman’s painterly legacy, for no artist since Newman has placed such importance and urgency on the act of painterly gesture. Possibly a stretch, though Schnabel has never shied away from the grand gesture or statement, but given (or despite) the expansiveness of Schnabel's thirty-year career he does come very close to Newman’s ideal of an Artist.
Newman believed that to create oneself...
- 12/30/2013
- by bradleyrubenstein
- www.culturecatch.com
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