In her new book, The Love of Painting: Genealogy of a Success Medium, critic Isabelle Graw ruminates on how painting remains omnipresent within the contemporary capitalist system and digital economy.
Authors Paul Nougé, Paul Colinet, and Louis Scutenaire exhibited a staunch ethic of underground and elliptical obscurity.
As cities and states pass legislation to curtail Airbnb activity, the site’s future as a tool for artists and art organizations both large and small remains uncertain.
Broodthaers was an artist who developed an inflammatory and unruly practice, playing with notions of expectation and frustrating them.
The work of Marcel Broodthaers balances erudite postmodernism and a straightforwardness so literal that it borders on humorous.
Midway through the retrospective of Belgian artist Marcel Broodthaers currently at the Museum of Modern Art, the visitor comes across the witty short film La Pluie (Projet pour un texte) [The Rain (Project for a text), 1969].
Do words limit our experience of a given artwork?
I suspect that those in the flow of the globalized 1% who advocate art for money’s sake are purposefully ignorant of Ursula Meyer’s key 1972 proposition.