When a second observation connects to a first, it alters the sense. Whatever registers in consciousness, registers a differencenot only its own but also a difference in what came before.
The sociopathic killer Anton Chigurh, a creation of novelist Cormac McCarthy, enjoys using a coin toss to decide the fate of people he encounters.
Two years ago, speaking from his studio, Georg Baselitz said that he felt no more aggression and had nothing to prove.
If we follow the curatorial lead through Lüpertzs retrospective at the Haus der Kunst in Munich, we witness an artist investigating in still imagery what the masters of 20th century cinema explored in moving pictures. Presenting a deeply researched account, curator Pamela Kort demonstrates the numerous analogies to filmic practice in Lüpertzs art.
During recent decades, as Joachim Pissarro observes, theoretical constructs have guided the critical evaluation of visual art and even shaped its base in perceptual experience.
Jack Whitten, approaching 80, died too young. His work was still developing—rapidly, in fact—and he was generating a whirl of new ideas as if he had nothing old to rely on. This was so, because none of Jack’s older art had aged. His old wasn’t old.