On Resentment, a film series opening at BAM on March 20, probes the question: “How does resentment channel our attentions and efforts, and to what ends?”
Like Warhol’s own work, Als’s characterizations appear one-dimensional at first sight, but on closer observation, they take on a much more profound meaning.
In a conversation with poet Ulf Stolterfoht, a chatbot pushes language towards its breaking point in a way no human could.
Stereotypically, artists take inspired, even foolish, chances for the sake of their work, while critics judge that work without as much risk to their professional reputation or financial well-being.
LOS ANGELES — Here’s the problem: “It is how people come to see art as a tool, a flavor, or a device.” So says Charlie White, editor of The Enemy, a triannual online journal that publishes long-form essays on criticism, social science, poetry, celebrity, and other cultural interests.
On the third floor, 2014 Whitney Biennial curator Stuart Comer professed to “provide a kaleidoscopic glimpse of this historic moment,” emphasizing work that seemed in flux and in transition from one medium to another, one state to another, or even across borders and identities.
If you are going to read Gertrude Stein’s titanic novel The Making of Americans — the Dalkey paperback is a little over 900 pages long — why not spare your eyes and have someone read it to you? This past weekend, the magazine Triple Canopy offered to do just that.
Have you ever read a press release — or even, say, the first line of a press release — for an art exhibition and promptly felt like you had no idea what just happened? Like a wave of vague descriptors and questionable nouns had washed over you, all if which were supposed to combine to create some sort of meaning, but you couldn’t, for the life of you, figure out what it was, and then you were ashamed? Have you ever read a press release and wanted to cry?
Yesterday marked the beginning of MoMA’s newest educational program Print/Studio. The printmaking studio and workshop program plans to engage visitors with various processes of printmaking, and it was organized in conjunction with the museum’s upcoming Print/Out exhibition.
Just in time for National Coming Out Day last Tuesday and the November opening of the controversial Hide/Seek: Difference and Desire in American Portraiture at the Brooklyn Museum, Triple Canopy has published a selection of visual artist and writer David Wojnarowicz’s journals online. Giving readers a brief and fascinating look into Wojnarowicz’s life and thoughts, the publication of the journals follow Wojnarowicz’s imploring to turn the private into something public as a political tactic.
Triple Canopy is an online art publication that funds, produces and publishes some of the most interesting digital contemporary art projects around. Less journal than showcase, Triple Canopy still doesn’t lack for critical dialogue. Art projects coexist with written text and the whole package is wrapped up in a shiny, scrolling digital interface. Triple Canopy’s Issue 12 just came out, and features a particularly interesting showing of Nancy Spero’s “Notes in Time” (1979) that draws attention to the new possibilities of digital art publishing.
This week we are pleased to publish an essay by sculptor and blogger John Powers about the relationship of death, sculpture, and modernity. The essay, titled “Art, Not Suicide,” wrestles with Rosalind Krauss and her influential essay “Sculpture in the Expanded Field,” as a starting point and asks, “What is the role of death in modern sculpture?” What he finds may surprise you.