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Hyperallergic

Hyperallergic

Sensitive to Art & its Discontents

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Marcel Broodthaers

Posted inBooks

How Painting Survives in the Digital Era

by Joseph Nechvatal March 18, 2019

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.

Posted inBooks

An English Translation of Belgian Surrealist Writing

Avatar photo by Elizabeth Zuba January 12, 2019January 10, 2019

Authors Paul Nougé, Paul Colinet, and Louis Scutenaire exhibited a staunch ethic of underground and elliptical obscurity.

Posted inArt

Airbnb’s Two-Faced Relationship with Artists and Art Organizations

by Elena Goukassian November 8, 2016November 7, 2016

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.

Posted inArt

A Sly Airbnb Homage to Marcel Broodthaers

Avatar photo by Seph Rodney May 13, 2016May 16, 2016

Broodthaers was an artist who developed an inflammatory and unruly practice, playing with notions of expectation and frustrating them.

Posted inBooks

Marcel Broodthaers’s Teeny-Tiny Atlas

by Julia Friedman March 31, 2016March 31, 2016

The work of Marcel Broodthaers balances erudite postmodernism and a straightforwardness so literal that it borders on humorous.

Posted inBooks

Only Abandoned: The Poetry of Marcel Broodthaers

by James Gibbons March 19, 2016March 31, 2016

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].

Posted inArt

Marcel Broodthaers’s Fraught Relationship with Words

Avatar photo by Elisa Wouk Almino March 2, 2016March 5, 2016

Do words limit our experience of a given artwork?

Posted inArt

Marcel Broodthaers Killed Art with Currency

by Joseph Nechvatal June 18, 2015June 22, 2015

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.

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