Recently, I had the opportunity to drive up to Dia:Beacon with an interesting pair of travelers: the man Art in America called "the most powerful and controversial environmental artist NY has ever known" the infamous master builder of New Yorks infrastructure, the late Robert Moses, and that ever elusive land artist, the late Robert Smithson.
In a soot drawing from 1958, executed with an oxyacetylene torch, brightly highlighted, tendon-like shapes rise up to a gaping, muscle-ringed hole from which stares a blank eyeball.
As part of our interest in revitalizing art criticism and theory, in giving them both sharp edge and broad, encompassing vision, the Rail has initiated this column. We invite art critics, art historians, and artists to voice insights and critical reflections on the nature of art, its history, and its relationship to our current social and political surroundings.
A single shot of an abandoned beach at low tide in jumpy, color super-8 film, Ana Mendietas "Bird Run" (1974) has a wistful quality of emptiness for most of its silent two-minute duration.
Early one July morning, the Rails publisher Phong Bui visited the painter Rackstraw Downes at his loft on the top floor of an old Fluxus-converted building on Greene Street.
Remembering Golub by David Levi Strauss; Leon Golub 19222004 by Clayton Eshelman; A Tribute: Leon Golub by Phong Bui