Troy Brauntuch looked to antique photographs and drawings of Hitler for inspiration. When Diane Waldman was working on a Roy Lichtenstein exhibition, she came to me to help edit the catalogue and was impressed by my work on it and hired me to be her curatorial assistant. The most lasting legacy of October , especially the first ten years of October , is the elision of those two modes, where the perspective of the critic and the historian became fused. In a recenttripartiteseries,for example, Levine cropped threephotographsof a motherand child accordingto theemblematicsilhouettesofPresidentsWashington,Lincoln, and Kennedy. The University of Chicago Press, , p. Your collected writing on the AIDS crisis is so important. Distancedsomefifty feetfromtheaudience,bathedin thedimredglowof a spotlight,accompaniedbythesoundofrecorded musictakenfromHollywood swashbuckler soundtracks, two men in fencinggear enacted theirathletic routine.
They consistedof multiple projectionsof mm. We wait foreach dive,knowingmoreor less when it will appear,yet each time it startlesus, and each time it disappears beforewe can really take satisfactionin it, so we wait forits next appearance; again we are startledand again it eludes us. In my friend Yvonne Rainer, about whom I was preparing to teach a course, gave me the manuscript of her memoir Feelings Are Facts , which is very moving. Is there enough to go around? It is withinthisconfusionof temporali- ties that Robert Longo’s work is situated.
Perhaps even moresurprisingthan thebanalityof Hitler’sdrawingsis thatoftheartproduced inside the concentrationcamps; see Spiritual Resistance: The reliefwas, in turn,quoted froma newspaper reproductionof a fragmentof a filmstill taken fromThe American Soldier, a filmby Fassbinder.
The Brooklyn Rail
Moreover,many of its characteristicsas discussedby Barthesare releventto theconcernsofall theworkdiscussedhere. Frankly, when I got to college I was a fish out of water.
I did see some theater in New Orleans because Tulane had a very fine theater department at that time; most of the faculty left and came to NYU around the same time I moved here in I would go on my own to the French quarter and hang out with drag queens in bars, and I became comfortable with the scene. I have no idea whether or how much he might have overcome that shyness as years went by.
Crimp wants to be a serious critic. Some of my resentment toward Ashbery likely comes from the way he titled my first essays in ARTnews— I should be over it by now, of course.
I remember that in my high school there was a very effeminate guy that was picked on—and I knew it was about his sexuality and that that was my sexuality too, but there was no way to understand it. I enjoy writing and I work hard at the craft of it. He was one of the most critical and persistent voices during the AIDS crisis and arguably the one whose theoretical insights most shaped the development of activist and artistic practices, even beyond the confines of queer and AIDS politics.
Pictures (exhibition) – Monoskop
They are, of course, no more recognizable than the right-handfigurein the above photograph is recognizable as Hitler, nor do theydivulge anythingof the historytheyare meant to illustrate. Luckily, I got the Sarah Lawrence gay studies position just at the moment I needed a new job. It was something that I had to deal with entirely on my own.
Whether as activist, editor, author, or participant, Crimp has played a key role in the construction, representation and interpretation of this history. There are stories that people will undoubtedly not like to read about themselves. The essays you are quoting in Before Pictures were criticism because they were written about new art in its moment; now, in looking back, you are re-contextualizing them within an art historical project.
To begin with, it would have been significant at the time to point out that the featured artists — Troy Brauntuch, Jack Goldstein, Sherrie Levine, Robert Longo and Philip Smith — were all working with recognizable imagery.
Remember me on this computer. Jan Tumlir is an art writer based in Los Essxy. Both Sherman’s and Robert Longo’s works actually resemblethis odd artifact,as does that of John Mendelsohn, James Birrell,among others.
So that is one origin of the book. The pictures on the walls had been taken down, leaving… Read More. Needlessto say,we are not in searchof sources or origins, but of structuresof signification: They tended to seize upon singular images and hold them up to scrutiny, frozen and melting.
It was my first re-engagement with October. Crimp is beholden to both worlds but finds the two incompatible. How do you see that relationship between the personal and critical?
The temporalityof these picturesis not, then, a functionof the nature of the medium as in itselftemporal,but of the mannerin which thepictureis presented;it can obtain in a stillpictureas well as a moving one. The Pictures Generation was not douuglas first major exhibition to examine these artists as a distinct group, but it was the first to focus only on this cohort from a scholarly perspective.
(PDF) Pictures | Douglas Crimp –
David Velasco is editor of artforum. In returning to things pitures I did in douylas first decade in New York, I regard them from my present perspective, and often tackle issues that arise for me only now. But what was the medium of that presenceand thus of the work? That is not only because of their interest in what I was saying but because we were all horrified by the new narrative that was being put in place by gay conservatives.