Posted inArt

Second Sight: The Photographs of George Hendrik Breitner

It’s unlikely, half a century from now, that a shadow oeuvre will appear among the personal effects of many contemporary artists, a secret body of work that parallels or even exceeds their public output. This is what happened with the Dutch painter George Hendrik Breitner (1857–1923), whose several thousand photographs emerged from obscurity only in 1961 and might plausibly have been lost forever.

Posted inArt

Without Elaboration

Forrest Bess was born in Bay City, Texas on October 5, 1911, one year before Agnes Martin (1912-2004) and Jackson Pollock (1912-1956) joined him on this planet. Martin’s entry point was Macklin, Saskatchewan; Pollock’s was Cody, Wyoming. Martin and Pollock moved to New York in order to study, and left in order to preserve themselves. Both made the paintings by which they became famous after leaving New York.

Posted inOpinion

Required Reading

This week, Keith Haring journals on Tumblr, the follies of suburbanism, looking for Kraftwerk, starchitects in New York, China’s architectural gold rush, art critics pick faves, Louise Bourgeois at the Freud Museum, the evolution of the Houston and Bowery “graffiti” wall, the National Gallery of Art releases 20,000 images online and more.

Posted inArt

When I Hear the Word Poetry, I Reach for My Frequent Flyer Miles

AWP, or the Association of Writers and Writing Programs (that’s actually AWWP, but we’ll let that slide), is billed as an annual celebration of authors, teachers, writing programs, literary centers and small press publishers. Every year these bibliophile masses descend on a North American city (Chicago, this year) to promote, mingle, fraternize, frolic, freak out, fight, deal, dole and drink. The book fair is the centerpiece, the polestar of the conference; a nerve-jouncing nerve center of tables and stalls and booths tucked away in the belly of the Chicago Hilton hotel on South Michigan Ave.

Posted inArt

On The Threshold

There are a number of things that distinguish Zak Prekop, who was born in 1979, from other young painters. The most important one is that he hasn’t turned what he does into a style or, in today’s parlance, a brand consisting of signature gestures. For while he has developed a method of making based on collage and optical disturbance, he has kept his options open. He embraces both the literal and the fictive as well as intertwines them in ways that are assured and compelling.