#SupplyDemand « Art Works. Performance Art Through the Lens. Laurel Nakadate, "Lucky Tiger #151" (2009). Chromogenic color print with ink fingerprints. 4 x 6" (10.2 x 15.2 cm) MoMA photography curator Roxana Marcoci knows that we are experiencing a “renaissance of performance”. The show she has curated in collaboration with Eva Respini, Staging Action: Performance in Photography since 1960, will explore the role of the photographic image in this surge of performative work, both as a document of the performance and as art work on its own. Fortunato Depero's "Autoritratto, Roma" (1915) is not in the show but is an early example of performance photography. (click to enlarge) (via livejournal.com/adski_kafeteri) The MoMA exhibition, which opens this Friday January 28, begins in the 1960s at a time when performance began to emerge as a singular field of art based on the carrying out of actions.
It is no coincidence that for their show, Marcoci and Respini are drawing from the large Silverman Fluxus collection that MoMA acquired in 2008. Felice Varini, Italy + Germany. Felice Varini, Italy + Germany Spazio Fendi, Milan Lindau, Germany See more by Felice Varini. artist: Felice Varinilocation: Milan, Italy + Lindau, Germany. Sean Martindale's TENTS in Toronto. Fresh Stuff From Michael Aaron Williams in Malta. READ's Fountain In Tel Aviv.
Cold As Ice By CEM. First Look: "The Wrinkles of the City" JR In Shanghai. Seen On The Streets Of Tehran, Iran. Painting Well « Slow Muse. “Rag and bone shop” table surface in my studio The New York Times Book Review last week had a simple headline: “Why Criticism Matters”. The editors set the stage by describing our current age as one where opinions are “offered instantly, effusively and in increasingly strident tones”—by anyone, anytime. So in that context it is reasonable to ask where the serious critic now sits in the cultural flow.
“Where does it leave the critic interested in larger implications — aesthetic, cultural, moral?” Six critics were asked to explain what they do and why it matters, with Afred Kazin’s view of criticism as a tether point: The critic, Kazin wrote, “is a thinker, and it is the force . . . of his thinking that gets him to say those things that the artist himself may value as an artist, the reader as a reader.” I found the essays remarkably varied, some more successful than others. Like this: Like Loading... Life’s Afternoon: Making Art in Old Age « Slow Muse. Monet at Giverny In her New York Times review of the new book by Nicholas Delbanco, Lastingness: The Art of Old Age, Brooke Allen makes it clear that she, like me, was excited about the topic. Making art when you are older: What shifts? What shows up? What happens to our expression as we age? While Allen wasn’t satisfied with Delbanco’s undertaking (and put a call out for someone to take on the topic and do it up right), her review is full of memorable commentary.
Though leaves are many, the root is one; Through all the lying days of my youth I swayed my leaves and flowers in the sun; Now I may wither into the truth. Delbanco’s book questions why some artists continue to produce great work in their later years (such as Matisse, Monet, Picasso) while others hit a high point when they are young and then give in to the slow entropic demise of growing old. A passage from Allen’s review is worth keeping in mind: This is true, and Delbanco offers one intriguing explanation. Like this: Lothar Osterburg Photogravure. Parallels: Fire with Fire by Isabelle Hayeur.