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…e Thirty Years struggle that was vindicated. Sir RICHARD MacCormac has provided an Introduction which succinctly places the entire venture in a design context. Dr Brian Lang provides a longer essay which reviews the longer technological implications of the Library. As the Chief Executive who edged the Library along a subtle path to full realisation, his essay is from the heart and yet adds an appropriate touch of realism to the event. He could be seen at the recent book launch, standing back and yet heaving, metaphorically, an immense sigh of relief. Michael Spens…
Ryan Martin. Optimistic Voices II, 2014. Oil on canvas, 50 x 40 in. Mark Wolfe Contemporary, VOLTA NY. …er was leeched by channelling such been-theres as RICHARD Prince and Tracey Emin. Marrying shine and concept, Thomas Schulte’s gorgeous show of Iñigo Manglano-Ovalle’s Cloud Prototypes. Trending down was art pooled on the floor and dangled from the ceiling (though possibly for fear of accidents and ensuing litigation, since downtown, at the what’s-next satellite fair, Independent, pooled art sucked up the floor space). Minimalism took a back seat to de trop; whole or pieced objects thrown together for cumulative effect lost power in translation from workbench to sculpture and, fronted by Monica Cook’s eviscerated pig at Postmasters Gallery, were the usual 50-shades of kitsch. Much talked about was the dramatic increase in “product”  (the term only marginally less palatable than “stuff” that has come to denote art), which is forcing dealers to accept low-ball offers on work by artists who peaked last season and risk being muscled out by the hot kids coming up. …
Richard Wilson, 20:50, 1987. Installation view at Space Shifters. © copyright the artist, courtesy Hayward Gallery 2018. Photo: Mark Blower. … to the gallery’s brutalist architecture, while RICHARD Wilson’s landmark installation 20:50 (1987) is reprised, filling one of the galleries with impossibly reflective jet-black oil, a gently ascending viewing ramp slicing through the hip-high ooze. [image5] Yayoi Kusama’s Narcissus Garden (1966-2018) fills another gallery with a mirage of polished steel orbs, effervescent in the gallery spotlights, and Anish Kapoor contributes two mind-bending sculptures. These big names and set-piece installations are supplemented with a trove of hallucinatory surprises. [image3] Space Shifters leans heavily on the influence of the light and space movement, a style that emerged from southern California in the late 60s. An offshoot of the decade’s flourishing minimalist art styles, the movement saw artists take up complex technical methods and new materials, such as polyester resin and Plexiglas, borrowed from the engineering and aerospace industries that flourished in and around Los Ange…
…so is not writing about someone he did not know. RICHARD Carr …
Jacques Henri Lartigue, Album 1930, Renée Biarritz, August. Gelatin 
        silver print. Photograph JH Lartigue © Ministère de la Culture-France/A.A.J.H.L. …m of Art in 1963. Then, his friend RICHARD Avedon, helped him put together a book "The Family Album" in 1970 - which placed his name in the first rank of photographic artists. Ironically, the man who had been making incredible images since the age of six, only became a "professional" photographer in his 70s, when commissions from magazines, advertisers and fashion designers began to flood in - culminating in the official photograph of the then President of France, Valerie Giscard d'Estaing. Robert Johnston …
Anj Smith at Hauser & Wirth London, 18 Spetember 2015. Photograph: Martin Kennedy. …ch vanitas painters to so-called outsider artists RICHARD Dadd and Adolf Wölfli. While acknowledging the importance of recognising where she is coming from and taking responsibility for her references, Smith is also at pains to make work that is of our time. The intricate detail, painted with single-hair brushes – stubble on a figure’s cheek, a moth hidden in the stonework, translucent veins beneath the skin – is like a reward system, whereby the viewer benefits from each further minute spent studying the work and experiences a different painting, depending on the perspective from which it is approached. Smith’s work can only be fully appreciated in the flesh and this is a valiant display well worth spending some time with. Anj Smith: Phosphor on the Palms Hauser & Wirth, South Gallery, London 22 September – 21 November 2015 Interview by ANNA McNAY Filmed by MARTIN KENNEDY…
Leila Heller on opening night of her new gallery space at 17 East 76th Street. …ontemporary masters – Jeff Koons, Anish Kapoor, RICHARD Prince, Yayoi Kusama, Basquiat, Warhol, Picasso and other well-known names. NK: In 2010, you moved your gallery from the Upper East Side to Chelsea and then, just a few months ago, you moved it back to the Upper East Side. What precipitated these changes of location? LH: I started on the upper East Side, and I was there for 30 years before moving the gallery to Chelsea. I moved to Chelsea, because that’s where the art scene was at the time. But now things are changing. In the last few years in Chelsea, our business was not doing well, because the Hudson Yards opened and traffic became very heavy. Most of our clients would refuse to make a trip to see us there. Also, Chelsea became very expensive. It has become very entertainment-oriented, with several recently opened boutiques, restaurants and other establishments that drive the rents up and chase the galleries out. Most of the smaller and middle-size galleries have started …
A young man in curlers at home on West 20th Street, N.Y.C. 1966. Copyright © 1972 The Estate of Diane Arbus, LLC … concept of 'the decisive moment' in photography. RICHARD Avedon continued with a tradition of portraiture that brought out the interior life of both politicians and wanderers; Nan Goldin photographed sexual relationships in The Ballad of Sexual Dependency; and, today, Ryan McGinley creates images of New York City youth culture. In its presentation of photographer and photographs, 'Revelations' has reopened and reassessed many of the difficulties surrounding Diane Arbus while celebrating and recognising an impressive and massive collection of work.   Doro Globus   References 1. This statement appeared on the margin of a letter from Diane Arbus to her friend, Marvin Israel. Sussman E, Arbus D. A Chronology. In: Diane Arbus: Revelations. London: Jonathan Cape, 2003: 145. 2. Kramer H. From Fashion to Freaks. The New York Times. 5 November, 1972. 3. Sontag S. On Photography. London: Penguin Books, 1977: 36. 4. Greer G. Wrestling with Diane Arbus. The Guardian, 8 October, 20…
Kate Whiteford. Tree Optic and Punctuation Series, (After Capability Brown), 2016. Installation view. …ert Smithson [1938-1973], the British land artist RICHARD Long [b1945], and the Scottish poet, writer, artist and gardener, Ian Hamilton Finlay [1925-2006]. How did you come to depart from a studio-based practice and move in to the wider world? KW: The experience of going to locate works in situ in Italy as a student and later working with archaeologists at sites in Scotland and Europe influenced my thinking, and gradually my working practice moved beyond the studio. Also, when I left the Glasgow School of Art, I was part of an artists’ group that proposed monumental artworks for the city. With hindsight, I realise that the scale of these ambitious projects were somehow connected with the loss of heavy industry and shipbuilding. The scale of that thinking impressed me and stayed with me. At the Venice Biennale in 1990, I had no hesitation in casting a land drawing in situ in the Giardini, filling a space double the size of most pavilions. JMcK: Your watercolour works in this ex…
Marina Abramović. Art must be beautiful/Artist must be beautiful, 1975. Black and white video with sound,
13 min 51 sec. © Marina Abramović; Courtesy Lisson Gallery. …;s As It Presents Itself, with the voice of actor RICHARD Briers in a one-way conversation (asking us, the audience) what performance is and what it is not. The clay animation figures represent the comedian Spike Milligan, curator Matthew Higgs, the artist’s mother, Mrs Frances Gander, and the Lumière brothers (dressed in brown tweed suits, they could be mistaken for the performance duo Gilbert and George). The experience of watching As It Presents Itself reminded me of the habit of reading street signs out loud. Drawn in to the performance, I felt compelled to answer the series of questions posed by the voiceover, if for nothing else than to quiet the voice. Santiago Sierra, in his work The Trap, Matucana 100, Santiago de Chile, December 2007 (2007), places an audience at the centre of his performance, thus literally bringing into play Carlos’s concept that the other’s role as witness / responder is actually in itself a crucial and “performing” com…
Studio International, Vol 177, No 909, March 1969. …ify the behaviour of the machine has been used by RICHARD Hogle and several others. The point is that Tsai knows his sophisticated techniques so well that the ingenuity has been put behind him and become a taken-for-granted skill or medium—like handwriting for others. As can be seen from the biographical note which follows this article, a great deal of specialized experience and research has gone into these creations; yet they look effortless and spontaneous, as if the artist's co-ordination of his technical resources were indissoluble from the coordination of his own instincts and intelligence. This power to co-ordinate and organize is, of course, one traditionally associated with the artist. Where it is lacking the result seems not 'art' but a contrivance—willed by the mind, with no concurrence of the nerves and instinct. Faced by such objects, we find ourselves commenting on the technical skill that has gone into them. Faced by a Tsai, one recovers a primitive and naive wonder …
Yayoi Kusama with net painting and skyline in New York, c1961. …ama held Driving Image Show, an exhibition at the RICHARD Castellane Gallery in New York. It featured a dense assemblage of her newest form: white, phallic, fabric protuberances clustered on to furniture – chairs, ladders, ironing boards – and known as Accumulation sculptures. On the floor, for the viewer to tread on with a crunch, was dried macaroni. In the poster for this show, repeated images of Kusama’s disembodied face hang over the scene, merging into the space. She has always described her main inspirations as her own visions and psychology, and has written of a hallucination – triggered by the energy expended on making them – in which her body merged into one of her Infinity Nets. The idea of self-obliteration imbues her self-presentation within her own work – brushing her hair performatively in a video interview in her studio, holding up a home-made dress to hide her body; lying back, dressed in yellow, in a field of sunflowers; or spread-eagled naked against one o…
Goldsmiths Centre For Contemporary Art, entrance view. Image courtesy of Assemble. …re extraordinary - like galleries carved out of a RICHARD Serra sculpture. The cast-iron interior of the main one has been cleaned, oiled, preserved and strengthened to resist wind-load. It can, of course, be painted any colour, but for now it is black and raw, the perfect setting for Mika Rottenberg’s Frying Pans (2018) which intermittently hiss and steam, their vapours captured by shafts of light from a long, clerestory window. The top level of this space has been lined with timber, darkened to a similar gritty texture as the metal panels by using Assemble’s home-brewed acetate tincture of wire wool dissolved in vinegar. Another cast-iron tank around the corner has had its lid sliced off to create a small rooftop sculpture terrace; it is also lined with timbers painted in this sticky, briny-looking residue. The other two galleries contrast nicely: top-lit, white-cube-style galleries. [image14] Adam Willis of Assemble says their scheme “offers a series of very diverse and dist…
Dangerous Women: The Perils of Muses and Femmes Fatales …inine seduction. Recounting Scheherazade's story, RICHARD Burton in The Book of the Thousand Nights and a Night describes her enchantment of the king of Persia with her creative and intellectual talents, thereby saving her life. While creative pursuits for women have been tolerated (and sometimes encouraged) by men, most often men have cautioned women against developing their intellect. Of course, this is one of the most frustrating sexual hypocrisies; men champion intellect and reason as a guard against passion but warn women that a strong mind will dilute feminine charms.4 In 'Emancipation and Transgression in Love', Adler and Lécosse address a further frustration. Traditionally, many women have identified femininity as primary weapon in the war of the sexes, leaving less-effective passive aggression to the shrew. Courageously, certain women, real and imaginary, have left the battlefield, refusing to define themselves in male terms. Some of them appear in this se…
Laszlo Fejes. <em>Wedding, Budapest,</em> 1965. Silver gelatin print, 155 x 238 mm. Hungarian Museum of Photography. Copyright Hungarian Museum of Photography. … bear witness. References 1. Cornell Capa & RICHARD Whelan(ed.s) Children of War, Children of Peace. Photographs by Robert Capa. Bulfinch Press, 1991: xii. 2. Rudolf Balogh, 1914, quoted in the catalogue to the exhibition, Eyewitness: Hungarian Photography in the Twentieth Century. Brassaï, Capa, Kertész, Moholy-Nagy, Munkácsi, Thames & Hudson Ltd, 2011: 42. 3. John Steinbeck “Robert Capa: A Memorial Portfolio” in Popular Photography, September 1954. 4. Quoted in John Banville, “Eternity in a Moment”, in RA Magazine Summer 2011, issue number 111. 5. André Kertész, quoted on exhibition wall text. 6. André Kertész. Edited by Harold Riley. The Manchester Collection, 1984: 75.…
Jerzy Ryszard (Jurry) Zielinski. Bez Buntu (Without Rebellion), 1970. Private collection, courtesy Luxembourg & Dayan. © the Estate of the artist. …R Jasper Johns (b1930), Claes Oldenburg (b1929), RICHARD Hamilton (1922-2011), Robert Rauschenberg (1925-2008), Roy Lichtenstein (1923-1997) and Andy Warhol (1928-1987). Sound familiar? These are artists whose work you will categorically not see in the latest homage to pop art at the Tate Modern. For years now, art history books have dedicated page after page to them whenever the topic of pop art crops up. The critical discourse on the movement has often fallen too easily into a Gombrich-esque linear discussion. Another erroneous perception of the movement – largely due to it being attributed to the US and Britain – is that its main focus was consumerism. Pop art had, in fact, provided artists from all over the world with a vehicle to hold up a mirror to the troubles they were facing in their own countries in a clear and powerful way. For most countries at the time, consumerism just wasn’t up there on the list of pressing issues. Instead, issues such as censorship, social imbala…
James Stuart and Nicholas Revett. <em>Antiquities of Athens</em>, volume 1. London: John Haberkorn, 1762. Open to title page. Courtesy of the Library, The Bard Graduate Centre for Studies in the Decorative Arts, Design and Culture, New York …ition continues until 24 June 2007. RICHARD Carr …
Jessica Stockholder. Courtesy of the artist and Mitchell-Innes & Nash, NY. …rank Stella, Gordon Matta-Clark, Kurt Schwitters, RICHARD Serra, Donald Judd, Emily Carr, Robert Davidson, Susan Point, Rebecca Morris … I also love Cheryl Donegan and Tauba Auerbach’s work. NK: In one of the early texts about you, the art critic Barry Schwabsky remarked that your work “dissolves aggression”. He compared it to Happenings, which, as Susan Sontag described, played with aggression as a tool, setting up the audience as its object.2 I like this observation because I find that it may ring true. How do you interpret it? JS: My work is aggressive in relation to the categories of understanding that we are all equipped with, but at the same time inviting, as it proposes that pleasure and sensuality are important. And it is aggressive in various concrete ways – when it cuts through walls or falls out of a frame, when it’s in your way. The work is gentler in pictures and more challenging in person, because images don’t capture the difficulty of making sense as one …
Léo Caillard, from the series Hipsters in Stone, 2013. Photograph courtesy Sebastien Adrien Gallery – Paris. …ainted, reciting the biographies of these women. RICHARD Tuschman (b1956), an artist from the US, shifts the witty semantics of artists such as Golz and Caillard to a more meditative tone. Several works have been selected from Tuschman’s series Hopper Meditations (2012-13) for this exhibition at MOCAK. The series is a response to the work of the American painter Edward Hopper, and also reflects the Wall Street Crash of 1929 and the devastating social and political situation that followed. “Placing one or two figures in humble, intimate settings, he created quiet scenes that are psychologically compelling with open-ended narratives,” Tuschman has said of Hopper. The images for Hopper Meditations are composed using photomontage – the background is made up of miniature models constructed by the artist. They capture domestic scenes of solitary individuals or couples in pensive poses: reading in an armchair, working at a desk, staring out of the window, draped across the bed. They …
Tim Rollins and KOS. Adventures of Huckleberry Finn - Asleep on the Raft (after Mark Twain), 2013-14. Indigo watercolour, matte acrylic, book pages on canvas. Photograph: Christopher Burke. Courtesy of the artist, SCAD and Lehmann Maupin Gallery, New York and Hong Kong. …her King and for Paulo Freire and Cornel West and RICHARD Rorty, WEB Dubois and Julia Kristeva, Michel Foucault, Roland Barthes, and especially Gilles Deleuze and Félix Guattari. But I’m also New England to the bone, raised on Emerson, Thoreau and transcendentalism, on William James and American pragmatism and varieties of religious experiences. LW: And Angel, Rick, were you critical of Tim at the time? AA: There aren’t more honest critics than kids, especially from the South Bronx. Tim demanded excellence and mutual respect, and we responded to that. RS: Tim wasn’t patronising. I met him at a summer programme at a Lehman College workshop. He gave us drawing pads and said do whatever you want. TR: We interviewed all these kids for the workshop. It’s called creaming, to take all the goody-goodies, who won’t upset the programme. And there was Rick and his friend George Garces drawing caricatures of the others. I saw them drawing and I looked at the caricatures and they wer…
Studio International, Vol 180, No 928, December 1970, pages 229-230. …ness of the script and of the character played by RICHARD Harris, this film will surely keep a classical status. As a French critic wrote, ‘...ce que surtout Antonioni met en question, c'est l'habitabilité même du monde.' (Maurice Pons, Les Temps Moderns, December 1964). ECOGAME The Computer 70 exhibition at Olympia in October was not the first trade exhibition to have included an art contribution as the centrepiece. The idea seems a good one, and could become a traditional medium of pat­ronage. Such occasions involve the exchange of large sums of money, so that the costs of financing the art contribution (whatever it may be) can be absorbed. The bulk of such exhibitions can be very tedious, and they provide an opportunity to interest intelligent people who may for various reasons profess little care for artistic matters. Commissioning by the organizers of a trade exhibition has some advantages over commissioning by an individual firm, which is usually done through its public …
Leon Levinstein. <em>Untitled</em>, New York City, 1960s–70s. Gelatin silver print, 34.9 x 27.4 cm. The Metropolitan Museum of Art, Gift of Gary Davis, 2007. …He was associated, at the time, with Diane Arbus, RICHARD Avendon and Robert Frank – and was very much an important figure in that group, despite relatively limited commercial success and outside exposure. He photographed the regular people on the street, but few outside of the art world would have recognised him, and he remained until his death rather more of a photographers’ photographer. That the Met now invites rather a lot of attention to Levinstein's worthy collection of work is a cause for celebration. Levinstein's work marks a time before photography became such a commercial endeavor, and captures a city before it swayed that way also. We are shown a candor that is rare in modern photography, and we leave the exhibition with these images and brief encounters lingering – almost surprised that such a chance encounter with a bunch of strangers can indeed be so comforting. …
Studio International, Vol 181, No 930, February 1971. …George, Daniel Buren, Ger van Elk, Keith Sonnier, RICHARD Serra, Lawrence Weiner. These will be shown continuously without breaks, editing etc. after the interview with Schum. [An article on Gerry Schum's work was included in the January issue of Studio International.] Programme 5: Concept Victor Burgin has prepared a script for this programme. It is not yet known what form the programme will take.  …
Judith Wechsler. Aby Warburg: Metamorphosis and Memory, 2016 (film still). 60 min. …harles. ARC: You’ve also collaborated with RICHARD Leacock, one of the godfathers of direct cinema, along with DA Pennebaker, Robert Drew and Albert Maysles. Did that kind of observational cinema affect your film-making? JW: Ricky Leacock was an innovative, perceptive and generous film-maker. We were colleagues at MIT and had become friends. I asked if he would work with me on a modest film I was making on three American painters living in Paris: Biala, Zuka and Shirley Jaffe. And then again, a few years later, for a film about another painter who was a mutual friend, Flora Natapoff, filming in London and Umbria. Ricky was a brilliant cameraman, capturing more than first meets the eye. He had a way of disappearing behind the camera so the subject forgot about his presence. Ricky believed you should make films without encumbrances – just do it. From him, I learned to make films with minimal means. That’s what I’ve done in my last three films and my current film…
Garth Evans. Hollow Form No. 31, 2004–13. Ceramic, 37 x 63.5 x 45.75 cm. Image courtesy the artist. …ly operated in. I think the same could be said of RICHARD Deacon, whose work exists somewhere between Caro’s and Evans’s in this and other ways. Evans himself says that his sculpture has always been basically figurative and, looking at this exhibition, it would be hard to disagree. Yet this needs to be qualified by saying that his sculpture is not about the upright figure, whose structure and image has been in so many ways central to the history of the discipline. More relevant is what other commentators have already identified as the “creaturely” aspects of Evans’s sculpture. Although he is careful to avoid pushing the point too far, these works could almost be seen as strange beings. But if they are beings, they are just as much objects. They combine the animation of the living thing with the inertness of the object, sometimes natural – a pebble say, and Henry Moore and Hans Arp are both relevant here – but more often a manmade thing, a pot or a piece of furniture. The…


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