Richard Tuttle
by Chris MartinArt
Throughout his impressive forty-year career, Richard Tuttle has pursued an artistic practice that is not easily categorized, incorporating drawing, painting, and sculpture into an idiosyncratic, intensely personal hybrid.
Katharina Sieverding: Close Up
by Daniel BairdArt
In the great Danish film director Carl Theodore Dreyer’s The Passion of Joan of Arc, the close-ups of the face of the tough, enigmatic Falconetti, strapped to the burning stake, are passages in which one can literally watch her inner transcendence.
Dorothea Rockburne and Klaus Kertess
by Bill BartmanArt
When I leaned those four eight-by-three foot, thin-gauge metal sheets against the wall, predictably they naturally sagged in the center. There was something wrong with the way my body experienced that sag. When leaning, the panels didn’t push back at me.
Artists as Writers
by Nick StillmanArt
Books reviewed in this essay:
Decoys and Disruptions: Selected Writings 1975-2001
by Martha Rosler
MIT Press, 2004
Leave Any Information at the Signal: Writings, Interviews, Bits, Pages
by Ed Ruscha
MIT Press, 2002
Foul Perfection: Essays and Criticism
by Mike Kelley
MIT Press 2003
Minor Histories: Statements, Conversations, Proposals
by Mike Kelley
MIT Press, 2004
Art Works Money
by Roger KamholzArt
Look no farther than the streets of our city to observe the extent the art world has been blanketed in money. Garnering a great deal of media attention is the reopening of the Museum of Modern Art in Manhattan, following a nine-figure gutting.
Railing Opinion: Communiqué from the land of BIG
by Dore AshtonArt
There is only one crime. After eighteen months of cleaning and restoration, Picasso’s “Demoiselles d’Avignon” is lost. Picasso called it his “exorcism” painting, and he meant it. The roughness and clashes he so thoughtfully invoked are now pale and dreadfully harmonious, enclosed in a heavy gray frame. Restorers are the new philistines.
