Rebecca Morris’s current show at Regen Projects, titled simply #34, after its place in the sequence of solo shows that constitutes the artist’s career evinces a painter who, having reached a certain stage of maturity, looks to take stock of the work she’s produced. How does it reflect her understanding of painting? What has held up and what is yet to convince?
Plantasia is a two-day ambient music fest held in Chicago named after Mort Garson's 1976 record, Mother Earth's Plantasia.
Now seems as good as any moment, as history breaks around us, to reconsider our attachments to modernism and formalism — along with the implications of such attachments — for the purpose of developing an art criticism that aspires to be adequate to the present.
Now seems as good as any moment, as history breaks around us, to reconsider our attachments to modernism and formalism — along with the implications of such attachments — for the purpose of developing an art criticism that aspires to be adequate to the present.
What is really feared in loud music is not the loudness, but the ugliness
Our art education does not produce artists or critics, but little art historians – worse, librarians! We are what Nietzsche described as “idlers in the garden of knowledge,” individuals with an Alexandrian relationship with art, art as an infinite archive of “works” to be perused, art as mere culture. Our spirit transforms art into artifacts.
Rebecca Morris’s current show at Regen Projects, titled simply #34, after its place in the sequence of solo shows that constitutes the artist’s career evinces a painter who, having reached a certain stage of maturity, looks to take stock of the work she’s produced. How does it reflect her understanding of painting? What has held up and what is yet to convince?
Plantasia is a two-day ambient music fest held in Chicago named after Mort Garson's 1976 record, Mother Earth's Plantasia.
The further one surrenders to the compositional dynamics in each work, the more archetypal or elemental they seem to become. They are classically modernist in this sense, distilling form into an essential image, a snapshot of a prototypical aesthetic idea. This seems resonant with the glyph theme in their titling. Juxtapositional interventions — in this case Hurley’s sticks — resolve into a formal irreducibility.
Bret Schneider delves into everything from Indian ragas to Bach’s recreation of the mind with composer and pianist Michael Harrison.
Bret Schneider speaks with composer Katrina Krimsky about her career spanning half a century.
Philippe Jaccottet’s 1981 essay on Osip Mandelstam, with poems translated by Matvei Yankelevich and John High.
Politically, melancholia may be more destructive than idealism, but aesthetically, doesn’t melancholia, as a kind of negative idealism, seem almost natural?
Victor Cova introduces a 1941 exchange between Claude Lévi-Strauss and André Breton.
“It’s the stark-open when / the sky disappears into the lake without aid”
Plantasia is a two-day ambient music fest held in Chicago named after Mort Garson's 1976 record, Mother Earth's Plantasia.
What is really feared in loud music is not the loudness, but the ugliness
Failure of failures. Gluck and Vika’s adventure comes to an end…for now!
Gluck turns a corner and encounters a challenge he’d never anticipated, revealing the true scale of his conflict. Will he give up…or find new strength?
Breaking out of jail is something of a specialty for Gluck. Finding his way around an unfamiliar city isn’t hard either. What does Gluck struggle with? I’m glad you asked!
“Film is, for me, an art of composition.”