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Currently on view at Mary Boone Gallery, through May 1st, is “The Globe Shrinks,“ a playful and seductive new video installation by Conceptual artist Barbara Kruger. The artist is best known for her confrontational slogans paired with images, but her recent video work finds a new home in the gallery, where a 12-minute, 44-second looped video plays on four channels surrounding the room.
Best thing I saw on my last visit to Chelsea.
…there remains a sizeable part of the art world that simply does not get photography. They get artists who use photography to illustrate their ideas, installations, performances and concepts, who deploy the medium as one of a range of artistic strategies to complete their work. But photography for and of itself -photographs taken from the world as it is– are misunderstood as a collection of random observations and lucky moments, or muddled up with photojournalism, or tarred with a semi-derogatory ‘documentary’ tag.
Paul Graham — The Unreasonable Apple
I have had a few good discussions about this recently. Photography “for and of itself” is one of the hardest things to get.
(via jenbee)
I’ve been obsessed with Walter de Maria lately. So, being the MAJOR nerd that I am, I made this iPhone background using text from one of his pieces. If you want to, you can use it too.
The text is from de Maria’s piece Art by Telephone:
In 1968, Walter de Maria had an operational telephone placed on the floor of the exhibition room in the Museum of Contemporary Art, Chicago. Nothing could be placed within several feet of the telephone or its cord except for a sign next to the phone which read, “If this telephone rings, you may answer it. Walter de Maria is on the line and would like to talk to you.” Only de Maria, who would call at random from New York, had the number.
Sources: colophon, 1904, Out of the Box
Why You Should Buy Art by William Powhida
Just ordered this, but—not gonna lie—it took me a few minutes to decide whether or not buying it would be hypocritical.
The one form of transience the art industry depends on is the transience of memory.Holland Cotter for The New York Times
Coral in the Shape of Connie Chung, 2006, by Jeffrey Vallance
Mixed media
(via Tanya Bonakdar Gallery)
UNTITLED (WOMAN WIPING VAN, QUEENS, NEW YORK), 2002, by William Eggleston
Compared to the prints these digital images look horrible (some of my favorites aren’t my favorites anymore in JPG form) but Eggleston at Cheim & Read is so good that it makes Diane Arbus (who I like, and with whom his work is paired) look really bad.
Third panel from Gary Gilpatrick, Insulator, 2008 by Sharon Lockhart
Three chromogenic prints; 24 3/4 x 30 3/4 inches (62.9 x 76.2 cm) each framed
(via Gladstone Gallery)
