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How does an office need to work to make it through the pandemic – and even more importantly – how will the office work after the pandemic?
Ecological Rehearsals: Shift, Toronto, Ontario Ecological Rehearsals: Shift, Toronto, Ontario Richard Serra’s Shift, located in King City north of Toronto, is a prototype for contemporary ecological art. By On Share The walls of Richard Serra’s Shift trace a zigzag through a farmer’s field in King City, Ontario. Photo by Simon Rabyniuk and Pooya Aledvood In the face of the climate crisis, contemporary ecological artists are investigating radical contingencies between site, mediating systems and viewers. French artist Pierre Huyghe’s work, for instance, creates haunting architectura...
What People Say About 3QD "3 Quarks Daily is terrific - many congratulations, and many thanks!" — Alain de Botton, best-selling Swiss-British writer and Fellow of the Royal Society of Literature. "It is a great honor to be mentioned in one of my two ONLY portals to the internet—and the world, since I do not read newspapers. My discipline, to avoid drowning in information, is not to cruise the web outside of these two points. I tried many sites; yours has CHARM." — Nassim Nicholas Taleb, author of Fooled by Randomness and The Black Swan. [The other site NNT is referring to is the excell...
The Value of Didactic Art This week, executive editor Lloyd Wise looks back at April 1967’s “The Value of Didactic Art,” one of the many benchmark essays written for Artforum in its early years by the critic, curator, and art historian Barbara Rose (1936–2020). Rose is celebrated and remembered by her friend and colleague Margit Rowell in our April issue. To read Barbara Rose is to partake in her “immense excitement and pleasure,” writes Rowell. Nowhere is this in better evidence than in Rose’s 1967 essay “The Value of Didactic Art,” in which the crit...
Barbara Rose THERE ARE FEW INSTANCES IN WHICH the critic has to evaluate work that has had some special personal significance for him; but those instances are often the most challenging. When I abandoned the provinces, I came to New York to study the Old Masters. But Morningside Heights soon proved less compelling than 57th Street. This was something I couldn’t justify for a long time. One day, however, I saw abstract paintings that succeeded in preserving many of the qualities I admired in the Old Masters—especially the lightness and airiness of th...