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Letting the fresh air in
Books:
Edward Burtynsky:Essential Elements, Thames & Hudson, October, 2016 (essay).
Unspoken Spaces: Studio Olafur Eliasson, Thames & Hudson, April 2015 (essay).
Just Painted, catalogue published by the Reykjavik Art Museum, 2015 (essay, The Persistence of Painting,translated into Icelandic).
Mad Men Unbuttoned: A Romp Through 1960s America by Natasha Vargas-Cooper, HarperDes 2010, includes an excerpt from my blog post, Thanksgiving with Brigette Bardot and Ann-Margret.
Along a Long Line by Michael Glier. Interview by Carol Diehl, essay by Lisa Corrin. Hard Press Editions, Lenox MA in association with Hudson Hills Press, September 2009.
Andrew Stevovich: Essential Elements essays by Carol Diehl, Anita Shreve, Valerie Ann Leeds, John Sacret Young, Hard Press Editions, December 2007.
A Place for the Arts: The MacDowell Colony, 1907-2007, edited by Carter Wiseman with essays by Joan Acocella, Carol Diehl, Vartan Gregorian, Verlyn Klinkenborg, Robert McNeil, Robin Rausch, Ruth Reichl, Jean Valentine, Jacqueline Woodson, Kevin Young, University Press of New England, January, 2007.
The Columnist (Anne Truitt), Art in America, March, 2010.
Eye of the Heart (Marisol)
Art in America, March, 2008.
The World of Mrs. N (Louise Nevelson), Art in America, January, 2008.
Reviews:
Suzan Frecon at David Zwirner, ARTnews, Summer 2015.
Inka Essenhigh at Jacob Lewis, ARTnews, February, 2015.
Wang Xieda at James Cohen and Pete Schulte at Luise Ross, Art in America, April 2013.
Valerie Jaudon at Von Lintel, Art in America, March, 2013.
Gerhard Richter at Marian Goodman, Art in America, December 2012.
Oskar Fischinger at the Whitney Museum, Art in America, November, 2012, p. 166.
Alan Wiener at Feature, Art in America, October, 2012, p. 179.
Kehinde Wiley at the Jewish Museum, Art in America, September, 2012, p. 140.
Barbara Takenaga at D. C. Moore, Art in America, February, 2012.
Angels Ribe at the Barcelona Museum of Contemporary Art, Art in America, December, 2011.
Don Voisine at McKenzie, Art in America, October, 2011.
Chuck Webster at ZieherSmith, Art in America, June, 2011.
Keltie Ferris at Horton, Art in America, March, 2011.
Lynn Davis at Knoedler & Company, Art in America, December 2010.
Ree Morton at The Drawing Center, Art in America, December, 2009.
John Kelly at Alexander Gray, Art in America, November, 2009.
Finnbogi Peterson at Sean Kelly, ARTnews, October, 2009.
Sven Kroner at Yvon Lambert, Art in America, January, 2009.Ross Bleckner at Mary Boone
Gary Komarin at Spanierman Modern
Art in America, May, 2008.
James Casebere at Sean Kelly
Art in America, December 2007
Myron Stout at Washburn
Jo Baer at Alexander Gray
Art in America, November 2007
Robert Irwin at Pace Wildenstein
Art in America, September 2007
Zhan Wang at the Williams College Museum of Art
Art in America, May 2007
4 comments:
This is utterly hilarious...
you've got to be kidding?!
This kind of thing pisses me off. Back in freshman year of college (1984) I spent a lot of time making 3D wireframe models of various simple mathematical functions using a Basic program lifted from Byte Magazine that I converted to Turbo Pascal running on a Compaq. A few years later I used these in my art, both by applying them to paintings and by transferring them to lithography stones. The joke/comment was a play on the plane and modernist space and THE GRID. Ok, honestly, I just thought they looked cool.
Then, a few years later, I saw Stella prints or paintings with similar wire grids selling for megabucks in a NYC gallery. The store (a.k.a. gallery) was touting his work as cutting edge mathematical modeling of the swirls of cigar smoke. I’m pretty sure he never saw my art. What bothered me was that it wasn’t cutting edge and the mathematical modeling isn’t so hot and it wasn’t any more interesting or novel than mine from 15-20 years earlier. Is it justified that because he did some interesting work in his youth his new work regardless of quality should still be so marketable?
Yes, in fact he has two. Or did, it was over 5 years ago when I last saw them and last worked at the art foundry his upstate studio is next to. Two fluffy white short legged dogs that would follow him around the shop with their little legs running to catch up to his shuffling walk.
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