on abstraction and hauntology

(Takashi Murakmi, Infinity, Mixed Media, 2008).

Just riffing here…

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on photography, false promises, and melancholy

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.

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on richard serra, context and museum-going in 2017

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.

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On museums and technology

Caption: Gerald Murphy, Watch, 1925.

“Museums innovate at their own risk,” was the way writer Mike Pepi concluded a recent piece for Art in America on New York’s New Museum’s “New Inc.”, the first “museum-led incubator for creative entrepreneurs.”

I’ve been spending a good deal of time recently thinking about our experience of art in 2016. Not just mine but generally how I imagine people are experiencing art both inside and outside of museums in an age of mediated encounters.

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