visual artist, itinerant art historian, freelance writer
Writing this review was a huge challenge for me in my particular position as an art history graduate student and aspiring artist. I enjoy the challenge of writing about visual and/or conceptual things, but have come to prefer the physical process of making my own drawings and tactile objects…
Dealing with the mountains of delicious desire, [...]
For your drawing inspiration today, this is an hour long lecture by feminist and psychoanalytic scholar of art history Catherine de Zegher on Eva Hesse’s relationship to drawing, and on contemporary art’s expansion of drawing, from the Walker Art Center’s 2009 exhibition of Hesse’s drawings…
Introduction from the Walker Art Center’s site:
The exhibition Eva Hesse Drawing [...]
I haven’t posted any art history notes for a while so thought it’s time to share a snippet from a recently completed essay on Cornelia Parker’s ruinous and theatrical installation Cold Dark Matter, 1991. Maybe I can make AHN a Wednesday thang? This section of the essay deals with the way in which an art [...]
Benjamin (October co-editor and Harvard professor) Buchloh’s polemical essay ‘Figures of Authority, Ciphers of Regression: Notes on the Return of Representaion in European Painting’, 1981, twists and turns around its core problem. One particularly lovely diversion swerves into the realm of the Pierrot for a paragraph or two. He notes that in the wake of [...]
Lecture critique: Briony Fer, Studiowork, 22 October 2009 at the Fruitmarket Gallery, Edinburgh
Briony Fer’s lecture takes place in the Fruitmarket Gallery’s upstairs space, in which several of Eva Hesse’s never-before-exhibited (nor intended by the artist to be exhibited) paper, wire and rubber test-pieces are on display without the protective cases or rope barriers normally associated [...]
Elsner writes that ‘the desire to attain’ the ‘fundamental grounds of meaning in art’ is crucial for art history, even if this goal is unreachable. This focus on desire might be the most accurate answer to Peters Corbett’s question, asking why canonical art requires specialised attention, though Elsner does not probe this desire’s origins. [...]
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