Essays

Essays

Looking for the Incredible in a Simple Moment

by Alec Soth on February 18, 2015

Post image for Looking for the Incredible in a Simple Moment

Ninety-nine years after the first home was built in Berthoud, Colorado, a 39-year-old photographer walked the streets of this small town at night.

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Bram van Velde,

The postwar art scene in Paris was dominated on one side by a disproportionate humanist optimism bent on reconnecting with the great French tradition of Cubism and Fauvism, as if nothing had happened in between.

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Post image for Failure as Success in Painting: Bram van Velde, the Invisible (Part 1)

Last summer, at the opening of his exhibition at the David Zwirner Gallery, the painter James Bishop mentioned in passing his strong interest in Bram van Velde’s work.

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Post image for In Search of the Post-Internet at Art Rotterdam

ROTTERDAM — Whether you like it or not, Karen Archey and Robin Peckham’s 2014 exhibition and catalogue Art Post-Internet solidified the term “post-internet art” in our vocabulary.

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Jeff Koons, “Play-Doh” (1994–2014)

I wrote most of the first two sections of this essay (Part 1) in March 2011, but never submitted it anywhere. I think I lost interest in the subject. I thought I wrote it well before the negative critiques would surely come rolling in, even before Koons’s retrospective at the Whitney in 2014.

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Jeff Koons,

Shiny on the outside, hollow on the inside. That is how the work of the American artist, Jeff Koons, has been generally described and received, not only by those who are less than affectionate toward it but also by those who like it.

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Post image for From the Deep South, an Overlooked Chapter in Art History

ATLANTA — Is Bill Arnett enjoying the last laugh?

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Martin Puryear,

Recently, and rather unexpectedly, the term “negative capability,” which was coined by the poet John Keats, came to mind. Was this an outlandish association to make while looking at Martin Puryear’s debut exhibition at Matthew Marks?

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Maria Lassnig, “Du oder Ich” (2005)

Very recently I was told that a certain art magazine editor, who had deleted the feminist critique from a review I had written, “can only take so much feminism.”

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EssaysWeekend

Some Follow-up Thoughts on Michael Mazur (1935–2009)

by John Yau on December 14, 2014

Michael Mazur,

In the catalogue accompanying the exhibition, Looking East: Brice Marden, Michael Mazur, Pat Steir, at the Boston University Art Gallery, John Stromberg opens his essay, “Michael Mazur: A Delicate Balance” with this sentence: “Michael Mazur’s path to his recent paintings based on Chinese art has been less than linear.” Couldn’t this observation have also been made about Marden and Steir?

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