• Moved by the Grandeur of Ancient Ruins,[1] the Artist Takes Notes – thoughts on three current, un-visitable London exhibitions [2]

    “[…] he mistook the curtains of the window of his room for a canvas, and he kept describing what he was painting: the colors, shapes, and shades.”[3] On broad empty surfaces, marks begin to show—indicative of fragility, a sense of loss? Or expectation? Thought-full? Thought-less? Mannerisms coincide. A type of gestural painting that emerges out of contradictions. Too much, I…

  • A Pacific Standard Time Travelogue, Part 3

    Editor’s Note: This review was written in March 2012. It has been reprinted here in its original form. For someone interested in Los Angeles art, Pacific Standard Time (PST), the Getty Initiative that connects over 60 Southern California cultural institutions and museums in an 11-month exploration and celebration of postwar Los Angeles culture, feels like a limited-time offer for an…

  • Situation Aesthetics: the Chance Encounter of Two Sound and Light Eliminators on the Art Historian’s Table

    To my eye, the one often reproduced photograph of Robert Smithson’s The Eliminator (1964) makes it a rather awkward and curious object, its title unnecessarily macabre. If only Smithson had been a contemporary of André Breton’s, I could have easily imagined the piece in one of the impromptu Surrealist shows. Much of that mystique is gone, now that I’ve finally…

  • Locality and Multiplicity at Documenta 13

    Nowhere does art feel more global than at the biennials and exhibitions that happen at such regular intervals that their devotees can confidently book their hotel tickets up to five years in advance. Certainly this is true at Documenta 13 in Kassel, Germany—a place with no particular history of strong artistic production in its own right, albeit a site with…

  • Robert Morris in the Guggenheim’s Panza Collection

    The large-scale Robert Morris sculptures grouped in a bright room at the Brooklyn Navy Yard, the members of the Panza Collection Initiative (PCI) told us, were there for one reason. Derelict, fragile, or compromised in some way, they were gathered as part of the PCI’s ambitious project to preserve and conserve the Guggenheim’s large holdings of Minimalist, Post-Minimalist, and Conceptual…

  • Architecture In Uniform talk by Jean-Louis Cohen at NYPL

    On February 29, 2012, Professor Jean-Louis Cohen gave a public talk on his new book, Architecture in Uniform: Designing and Building for WWII, at the Mid-Manhattan branch of the New York Public Library. Cohen began research for Architecture in Uniform—a project that would be some fifteen years in the making—as a way to pay some long overdue attention to architectural…

  • Carroll Dunham: Artist as Medium

    When Carroll Dunham loaded his PowerPoint presentation for his Artists at the Institute lecture, “Carroll Dunham Speaks About His Recent Work,” at the IFA on March 22, he requested that the projectionist leave the screen blank before he began his talk. My guess is that he didn’t want to scare away the audience with his first image–either Hers/Dirt/One (2009) or…

  • March 20 CAC Event: Robert Morris in the Guggenheim’s Panza Collection

    A Seminar for IFA Students and Faculty Tuesday, March 20, 2012, 2:00-4:00 PM The Contemporary Art Consortium at the Institute of Fine Arts, in collaboration with the Solomon R. Guggenheim Museum’s Panza Collection Initiative, invites students and faculty to visit and discuss a private installation of works by artist Robert Morris selected from the Guggenheim’s Panza Collection. The group will…

  • A Pacific Standard Time Travelogue, Part 2

    For someone interested in Los Angeles art, Pacific Standard Time (PST), the Getty Initiative that connects over 60 Southern California cultural institutions and museums in an 11-month exploration and celebration of postwar Los Angeles culture, feels like a limited-time offer for an all-you-can-eat buffet. I have been visiting my parents’ home less and less over the past few years, feigning…

  • Peter Halley: Isolation and Connectivity in the Big Apple

    Peter Halley’s work is distinctive—once you’ve seen a few Peter Halleys you can easily pick them out.  Buying into this perception to a certain extent, the “paintings” tab of his website has an “overview” option.  If a visitor to his site so desires, he or she can literally scroll through his entire oeuvre to see how Halley has reworked his…