Marshall McLuhan’s hot and cold media bother me.
Francesca Woodman, House #3, Providence, Rhode Island, 1976
“I would argue that the compulsion of the narrative derives its interpretive animation from the real threat of loss,” Michael Ann Holly writes in her book The Melancholy Art; whether as an art historian you are acting the detective solving the mystery of a painting, or the philosopher attempting to articulate an affective response to a work of art, the motivation for the work remains the same: the experience of a loss.
The spectacle is the effective dictatorship of illusion in modern society. – Guy Debord Continue reading “on notes on the death of culture”
Carlos Labbé is kind of a downer. Well, sort of. Maybe he’s just a realist.
Caption: Wassily Kandinsky, Composition VIII, 1923.
Is the art world’s codification of meaning-making in art responsible for the general lack of public engagement with it?
This is a cross-post of a piece of mine recently published in Arts+Culture Texas that tackles an excellent example of the tension between curator and audience.
Richard Serra’s work in print-making may be unknown to the casual art-goer, the artist’s name associated instead with his massive, imposing sculptural work in steel. But as Richard Serra: Prints, on view through April 30 at Dallas’ Nasher Sculpture Center details, for the last 30 years or so Serra has worked extensively with an array of printmaking processes.
Memory is to one what history is to another – an impossibility. – Chris Marker