The Benjamin Files by Fredric Jameson explains everything by reference to everything else, in a way that often makes the narrative all but impenetrable.
In his fiction, Nikolai Leskov writes as if he is overhearing the stories being told.
How will the internet transform the way that contemporary visual art is created?
Benjamin’s gargantuan Arcades Project brims with philosophical propositions, poetic digressions, lyrical aphorisms, and experimental theses.
Opening on March 17 at the Jewish Museum, The Arcades: Contemporary Art and Walter Benjamin intends to reflect the sprawling text in both content and form.
The artist’s “Kulturegeschichte 1880–1983” (“Cultural History 1880–1983”) is a seemingly endless archive that renders the viewer mute.
In 1913, the young Walter Benjamin struck up an intense friendship with the poet Christoph Friedrich Heinle — one of the most enigmatic episodes in Benjamin’s enigmatic life.
PARIS — The key to Paul Klee’s wonderfully shaped energy is not ironic detachment, as the title of the Centre Pompidou’s current retrospective suggests, but rather the playful and idyllic emotion he transmits through masterly line and dusty color.
BERLIN — BB9 is so vacuous, ideologically apathetic, ahistorical, sarcastic, and dehumanizing, it’s a wonder it hasn’t been blacklisted solely on account of its conformity to commodity fetishism.
Isa Genzken is not a Dadaist.
On average, we probably encounter magazines more frequently than art. To equate them, though, isn’t common practice. Is a New Yorker cartoon just a quirky little illustration, or is it a defining style of both humor and drawing that has become iconic not just of the weekly, but of the history of cartooning? Is a fashion spread in Harper’s Bazaar just luscious eye candy coxing consumers to buy clothes, or is it the collaborative result of aesthetic visionaries in the demanding creative fields of photography, creative direction and fashion? Are magazines glossy periodicals filled with ads, or are they works of art with revolutionary potential?
We perceive architecture, Walter Benjamin thought, in two ways: optical and tactile. There’s a progression over time in our optical perception of something that develops from looking at something into contemplating it. Black scratches to letters to a sign to an idea. But Benjamin didn’t think there was a tactile analog to contemplation when it came to perceiving something through touch.