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LIKE SO MUCH ART of the present, the work of Sung Tieu necessitates a fair amount of explanatory text. Reading the growing body of writing about Tieu (the artist will open her first US solo exhibitions—“Infra-Specter” at Brooklyn’s Amant on March 30, “Civic Floor” at Cambridge’s MIT List Visual Arts Center on April 4—nearly concurrently), I was struck by the frequency with which the Cold War surfaced as a referent. The term rightly identifies the period about which much of the artist’s research is conducted, but also slyly tethers her object of study to her own artistic operations. The Cold War
CambridgeCambridgeshireUnited-kingdomGermanyEdisto-islandSouth-carolinaUnited-statesNacionalCaliforniaBerlinMetropolitan-museum-of-artNew-york“The demands of poetry and painting, of expressivity and formalism, collided in his work and would come to no easy resolution,” wrote Barrett Watten of Frank O’Hara in Artforum’s March 2008 issue. O’Hara’s legacy is defined by dichotomies—of “high” and “low,” privacy and disclosure, contrivance and sincerity, celebration and elegy. Watten finds cause to let these contradictions lie in Lytle Shaw’s 2006 book, Frank O’Hara: The Poetics of the Coterie. “The disparity of intention and scale between O’Hara’s intimate poetry and his inescapable public presence . . . had the effect of positing the
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