Tuesday, July 29, 2014

Monday, July 28, 2014

FANNY HOWE ~










Fanny Howe
Second Childhood
Graywolf, 2014





Sunday, July 27, 2014

POSTCARD 48 ~






Logging diesel truck western style
 hauling logs on mountain roads

Eastman studios, Susanville, CA


Saturday, July 26, 2014

KURT SCHWITTERS ~








352 pages | 22 color plates, 98 halftones | 7 x 10 | Chicago © 2013


German artist Kurt Schwitters (1887–1948) is best known for his pioneering work in fusing collage and abstraction, the two most transformative innovations of twentieth-century art. Considered the father of installation art, Schwitters was also a theorist, a Dadaist, and a writer whose influence extends from Robert Rauschenberg and Eva Hesse to Thomas Hirschhorn. But while his early experiments in collage and installation from the interwar period have garnered much critical acclaim, his later work has generally been ignored. In the first book to fill this gap, Megan R. Luke tells the fascinating, even moving story of the work produced by the aging, isolated artist under the Nazi regime and during his years in exile.

Combining new biographical material with archival research, Luke surveys Schwitters’s experiments in shaping space and the development of his Merzbau, describing his haphazard studios in Scandinavia and the United Kingdom and the smaller, quieter pieces he created there. She makes a case for the enormous relevance of Schwitters’s aesthetic concerns to contemporary artists, arguing that his later work provides a guide to new narratives about modernism in the visual arts. These pieces, she shows, were born of artistic exchange and shaped by his rootless life after exile, and they offer a new way of thinking about the history of art that privileges itinerancy over identity and the critical power of humorous inversion over unambiguous communication. Packed with images, Kurt Schwitters completes the narrative of an artist who remains a considerable force today.


Michael White, University of York
“A surprising and penetrating account of ‘Merz,’ this book gives Schwitters his rightful place at the very heart of the theorization of modernism and offers one of the most illuminating accounts I have come across of the implications of his practice for the intersections of art and identity.”


Nancy J. Troy, Stanford University
“This is a powerful and exceptionally articulate treatment of a complex and fascinating artist whose work is diverse and often eccentric, but also important and extraordinarily influential in its time and after. No other scholar has granted Schwitters’s late work the depth of appreciation and importance that Luke accords the output of this period. She brings to this project a keen sensitivity to the formal issues that lie at the heart of Schwitters’s work and ideas across his entire career. Her book makes a significant contribution to the literature on Schwitters and should be read by scholars and students of both modern and postmodern art.”



Ralph Ubl, University of Basel
“This book joins rigorous scholarship and rich close readings, providing readers with a compelling and comprehensive new interpretation of Kurt Schwitters’s artistic, literary, and theoretical work. But it does much more than that. Questioning the art-historical preference for beginnings, it looks at Dada, constructivism, and other crucial moments of avant-garde art from the viewpoint of the aging and exiled artist. This change of perspective offers a lesson of far-reaching significance for our increasingly dis- tant take on twentieth-century art: that modernism itself persevered and thrived thanks to engaging deeply with its own increasingly remote past.”


http://vimeo.com/35864477





THE DRAWINGS OF LAURIE LIPTON ~








The Drawings of Laurie Lipton
Last Gasp, 2013
 

http://www.laurielipton.com/







Friday, July 25, 2014

POSTCARD 47 ~






"Old Cabin"
Red Rock Country
Sedona, Arizona
oil painting by
 William Mewhinney

Thursday, July 24, 2014

ANA MENDIETA'S TRACES ~







Ana Mendieta (1948-1985)
Traces
edited by Stephanie Rosenthal

Wednesday, July 23, 2014

IVAN ALBRIGHT ~










Once upon a time, between train rides, we caught this show in Chicago. I wouldn't find the catalog to the show until many years later, on the bottom of a slush pile, a little damp worn, all intact. I'm having a little trouble shooting this short film since I'm holding the camera in one hand and moving the book around with the other. The river is spring gorged and rainy outdoors rushing by. The very first time I saw an Albright painting was again passing through a northern town, maybe Hanover, New Hampshire that time, and the paintings were up on display and they were thickly gaudy wonders of immense power. Daring. Meant to be neglected. Coming forth after a long time of neglect. Albright could have been someone Rembrandt would have talked to. Here's a bit of his world passing by the camera.


once in vermont films 2014 © bob arnold