Critics Page
Re: From LAWRENCE WEINER STUDIO
From: MOVED PICTURES
Subject: Re: From LAWRENCE WEINER STUDIO
Date: June 7, 2013 4:41:54 PM EDT
To: Marcia Vetrocq
DEAR MARCIA VETROCQ
REGARDING: REPLAY THE ATTITUDES EXHIBITION
I WAS MOST IMPRESSED BY THE CARE & ATTENTION GIVEN TO THE WORKS & THE ATTEMPT TO RE-CREATE A PHYSICAL MISE-EN-SCENE WITHIN THE AMBIANCE OF THE ORIGINAL INSTALLATION
ATTEMPTING TO UNDERSTAND HOW THIS EXHIBITION BECAME SUCH A BENCHMARK FOR THE 20TH CENTURY WHEN IN FACT THE LASTING RESULTS OF THE SHOW ARE MORE ABOUT THE DYNAMICS OF THE MELDING OF ARTISTS THAT FOUND THEMSELVES IN THE MIDST OF OTHER ARTISTS WITH A MINDSET THAT ALLOWED FOR COEXISTENCE LEADING TO WHAT WE TODAY KNOW AS THE INTERNATIONAL ART WORLD
THE WORKS THEMSELVES HAD ALREADY ENTERED THE CULTURE THE AMSTERDAM EXHIBITION OP LOSSE SCHROEVEN HAD PRECEDED BERN GALLERISTS WERE SHOWING MANY OF THE ARTISTS
BERN AT THAT MOMENT GAVE A MAPPING TO A COSMOS
BEST REGARDS
I REMAIN
LAWRENCE WEINER
Contributor
Lawrence WeinerBORN 10 FEBRUARY 1942 BRONX NEW YORK ART IS THE EMPIRICAL FACT OF THE RELATIONSHIPS OF OBJECTS TO OBJECTS IN RELATION TO HUMAN BEINGS & NOT DEPENDENT UPON HISTORICAL PRECEDENT FOR EITHER USE OR LEGITIMACY LAWRENCE WEINER
RECOMMENDED ARTICLES
Cora Cohen: Works from the 1980’s
By Alfred Mac AdamOCT 2022 | ArtSeen
Cora Cohen: Works from the 1980’s is a time capsule, and like all time capsules it is an enigma. Time capsules are supposed to provide people of the future a sample of things typical of the moment when they are buried. Which raises the critical issue of perspective: are we to understand these eight glorious pieces according to what we think they meant thirty-five years ago, or should we understand them according to what they say to us today? Even if we lived through them, the 1980s are as irrecoverable as the 1880s: an abyss separates us from that decade even if human time—memory—may trick us into thinking we actually know that remote moment perfectly.
Marley Freeman: take care
By Alfred Mac AdamJUL-AUG 2022 | ArtSeen
Marley Freeman is breaking loose from herself. Not to worry; even as she moves forward, she, like Janus, keeps an eye on the past. In this, her second solo show with Karma (her first was in 2020), she is clearly shredding her ties to figuration, but not entirely or absolutely: several of the smaller works here contain human figures and faces reminiscent of her 2020 work.
Warren Neidich: The Brain Without Organs: An Aporia of Care
By Anuradha VikramSEPT 2022 | ArtSeen
At the Museum of Neon Art, The Brain Without Organs: An Aporia of Care, takes a radically deconstructive approach to the brain as a material organ and as an emblem of human intellect, the source of our unique evolutionary advantage.
Ani Liu: Ecologies of Care
By Helena HaimesJUL-AUG 2022 | ArtSeen
Ecologies of Care, Ani Liu’s current exhibition at Cuchifritos Gallery and Project Space, uses the language of technology and material culture to confront the all-encompassing, messy, pressured experience that is contemporary motherhood and thrust it front and center.
