February 11, 2006
11. Mass Rapid Transit (Singapore)
Mass Rapid Transit (Singapore) (*), 2006, HTML, 340 x 220 pixels
9. Review by Donald Judd
| Donald Judd "Review and Previews" Art News, October 1959 Stuart Gilden [Artzt; Oct. 3- 13] uses established abstract techniques to convey little; his vocabulary exceeds his knowledge of its meaning. All of the paintings are slashed and excoriated, for the most part without vigor or even brutality. Prices unquoted. Page 4. Donald Judd: Complete Writings 1959-1975. The Press of the Nova Scotia College of Art and Design. 2005 |
Why isn't William T. Wiley an Art Godfather?
William T. Wiley was born in 1937 and is still working hard and making good art. Here's what I want to know:
- In the day and age of Dana Schutz, why isn't William T. Wiley cited as an important predecessor?
- Why isn't Jack Hanley showing William T. Wiley as a forefather of Chris Johansen? Anton Kern Gallery? Derek Eller Gallery? Whatever, I'm just picking names.
- Who has made the connection between Amy Sillman and William T. Wiley?
- Why isn't William T. Wiley selling for top top dollar in Chelsea as art that is now?
- Does Amy Cutler know William T. Wiley's work?
- Why can I so easily substitute any of these artist's names with a bunch of other artist's names (Nicole Eisenman, Hilary Harkness, even Marcel Dzama, and so on) and still ask the same questions?
- Pick any "top" young artist doing figurative, illustrative, sensitive, personal vision kind of work- why isn't William T. Wiley their Jackson Pollock or Jasper Johns?
- Why isn't William T. Wiley an Art Godfather?
- Is it because he lives on the West Coast in Northern California, near San Francisco (Woodacre, or thereabouts, in Marin County)?
- Born in 1937- is he an old fart?
- Too political?
- Too Zen?
- Too Hippie, too back to nature, too roughin' it, too folksy, too country, too idiosyncratic?
- The art world is allergic to puns?
- Doesn't go to the right parties?
- His galleries aren't well situated and aren't getting the light shined on him enough?
- Not enough critical literature?
All images from WilliamT. Wiley, one of Artnet's Artists'Works Catalogues
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What Beast is in the Middle East? Number Due A , 2002, charcoal and acrylic on paper, Size h: 31.5 x w: 37.5 in / h: 80.01 x w: 95.25 cm
Painter's Block, 2004 , acrylic on canvas, Size h: 60.5 x w: 84 in / h: 153.67 x w:213.36 cm
What Beast is in the Middle East?, 2002, mixed media, Size h: 77 x w: 90.8 in/ h: 195.58 x w: 230.63 cm
Drifting Net, 1987, acrylic and pencil on canvas, Size h: 99.5 x w: 165.75 in / h:252.73 x w: 421 cm
Studio Space, 1975, acrylic on canvas with charcoal, Size h: 83 x w: 80.7 in /h: 210.82 x w: 204.98 cm
World at Large, 1975, acrylic and charcoal on canvas, Size h: 90 x w: 98 in /h: 228.6 x w: 248.92 cm
February 10, 2006
10. Apple Macintosh
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Apple Macintosh (*), 2006, HTML, 340 x 220 pixels
8. Review by Donald Judd
| Donald Judd "In the Galleries" Arts, Dec. 1963 Raymond Parker: Most of the paintings in this show are a change from the round patches passively placed to post and lintel patches placed passively. The work is composed, but the composition is rudimentary. A couple of paintings bulge slightly. (Kootz, Oct. 22- Nov. 9) Page 107. Donald Judd: Complete Writings 1959-1975. The Press of the Nova Scotia College of Art and Design. 2005 |
February 09, 2006
9. Mount St. Helens
Mount St. Helens (*), 2006, HTML, 340 x 220 pixels
7. Review by Donald Judd
| Donald Judd "In the Galleries" Arts, April 1960 Byron Browne: "Tawdry" is the condign adjective for Browne's paintings. The Fallen Angel is a mélange of anatomy suggestive of the dissolute sentimentality of John Carroll, of shreds of Picasso at his most glib, increased, and of touches of simulated Abstract Expressionism. A little orange or green is appliquéd to non-descript grays and browns. Despite some variation in the color the works have the similarity of being without it. (Grand Central Moderns, Mar. 19- Apr. 7) Page 16. Donald Judd: Complete Writings 1959-1975. The Press of the Nova Scotia College of Art and Design. 2005 |
February 08, 2006
8. Sydney Riot of 1879
Sydney Riot of 1879 (*), 2006, HTML, 340 x 220 pixels
6. Review by Donald Judd
| Donald Judd "In the Galleries" Arts, April 1963 Anne Truitt: There are a number of boxes and columns, both simple and combined, in this exhibition, and a large slab. The colors are dark reds, browns and grays, very much like Ad Reinhardt's color. The work looks serious without being so. The partitioning of the colors on the boxes is merely that, and the arrangement of the boxes is as thoughtless as the tombstones which they resemble. (Emmerich, Feb. 12.-Mar. 2) Page 85. Donald Judd: Complete Writings 1959-1975. The Press of the Nova Scotia College of Art and Design. 2005 |
February 07, 2006
7. Sino-German cooperation (1911-1941)
Sino-German cooperation (1911-1941) (*), 2006, HTML, 340 x 220 pixels
5. Review by Donald Judd
| Donald Judd "In the Galleries" Arts, March 1965 José Antonio Fernandez-Muro: Fernandez-Muro was born in Spain, is Argentinian and is now working here. His patinated paintings sanctify manhole covers and the lids of recessed valves. Relief rubbings of a couple of these are placed above and below the center of a painting. The background is a dark glaze, and the glazes run into the indentations of the waffle patterns. There's a lot of this in Europe and it's terrible. (Bonino, Feb. 9.-Mar. 6) Page 169. Donald Judd: Complete Writings 1959-1975. The Press of the Nova Scotia College of Art and Design. 2005 |
Camtasia demo: Making an HTML drawing
Camtasia demo: Making an HTML drawing (4.6mb Flash file; opens in new window)
February 06, 2006
6. Hurricane Dennis
Hurricane Dennis (*), 2006, HTML, 340 x 220 pixels
4. Review by Donald Judd
| Donald Judd "In the Galleries" Arts, January 1960 A. Chubac: The collages excel the oils and caseins, which are either ocular personages, those of Miró or Klee, or rectangles indebted to De Staël. A. Chubac is conspicuously French. Torn strips of tan paper, in one collage, some in arcs to impart circularity, are superimposed over a soft collection of red, blue and magenta so as to appear negative. That is harmonious but abecedarian. (World House, Dec. 15.-Jan. 9) Page 10. Donald Judd: Complete Writings 1959-1975. The Press of the Nova Scotia College of Art and Design. 2005 |
The State of Art History 101
Today, professors say, Art History 101 is a popular class, filled with students, mostly female, who think that newer media, outsider art, and their own cultures are underrepresented in their texts. These students tend to know less about history and classical mythology than the students of Janson’s era, and they are telling their professors that they feel completely overwhelmed by the amount of material they have to memorize.“The standard textbooks do not begin to address our needs,” says Silver. Despite the reprintings and the minor changes to the canon, “the art-history survey text has remained virtually unchanged for half a century or more. In the meantime, students who take art history have become increasingly diverse—with interests more engaged with gender or social issues than a generation ago—and they have wider backgrounds.” At Penn, the art-history survey class has been reworked to include not only painting and sculpture but prints, maps, photography, and cinema, “to highlight the rise of a public sphere of visual culture, culminating with TV and the Internet,” Silver says.
Some schools, such as Columbia and Wesleyan, have thrown out art-history textbooks altogether. Other schools still use them, although they find them seriously lacking. “Over the past 12 years, we have worked with, and been dissatisfied with, almost all of the major survey texts—we flood our students with too many places, titles, subjects, and dates,” says Levine.
February 05, 2006
5. Music of Nigeria
Music of Nigeria (*), 2006, HTML, 340 x 220 pixels
3. Review by Donald Judd
| Donald Judd "In the Galleries" Arts, December 1963 Vieira da Silva: These gouaches have fields, more or less, of small strokes placed rectangularly. The fields are often stretched as if the paper they are on had been. There is nothing new to this, and but it is usually passably well done. The colors are blue-gray and tan and are pretty inconsequential. I don't see what they see in Da Silva's work. (Knoedler, Oct. 15-Nov.2) Page 107. Donald Judd: Complete Writings 1959-1975. The Press of the Nova Scotia College of Art and Design. 2005 |