Posts Tagged ‘Marcel Broodthaers’

Cynthia Daignault: The Pure Products of America Go Crazy at CAPITAL

Cynthia Daignault. 
Matrix, 2017 (detail); oil on linen; 11 x 12 in. Courtesy of the Artist and CAPITAL.

Cynthia Daignault is always confounding our ideas about the nature of painting—and asks if it has an essential nature at all. In her latest show, The Pure Products of America Go Crazy, at CAPITAL in San Francisco (a sort of return home for a prodigal daughter educated at Stanford), she has done it again. Daignault has placed seventy oil-on-linen paintings like dinner plates on six[…..]

The Supreme Rifts… A Measured Propinquity at Marian Goodman Gallery

Niele Toroni. Andata E Ritorno (orange), 1991; installation of four canvases, easels – imprints of No 50 brush repeated at regular distances 30 cm; 39 1/2 x 39 1/2 x 1 1/8 in (each). Courtesy  of the Artist and Marian Goodman Gallery, London. Photo: Thierry Bal.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Andreas Petrossiants reviews The Supreme Rifts… A Measured Propinquity at Marian Goodman Gallery in London. In Michael Newman’s poetic text accompanying the[…..]

Marcel Broodthaers: A Retrospective at the Museum of Modern Art

Marcel Broodthaers. Pense-Bete (Memory Aid), 1964; books, paper, plaster and plastic balls on wooden base, without wooden base; 11 13/16 × 33 1/4 × 16 15/16 in. Courtesy of the Collection Flemish Community, long-term loan S.M.A.K. © 2016 Estate of Marcel Broodthaers, the Artists Rights Society (ARS), New York, SABAM, Brussels, and the Museum of Modern Art, New York.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Andreas Petrossiants reviews Marcel Broodthaers: A Retrospective at the Museum of Modern Art in New York. In Marcel Broodthaers’ poem “Question de[…..]

Postscript: An Ambitious Take on Conceptual Art and Writing at the Power Plant

Kenneth Goldsmith, Soliloquy, 1996.

Upon entering Toronto’s Power Plant Contemporary Art Gallery to see Postscript: Writing After Conceptual Art, the viewer is immediately confronted by a raucous wash of sonorous elements. Over fifty artists and conceptual writers occupy the gallery space; canonical works from Andy Warhol, Sol LeWitt, Marcel Broodthaers, Carl Andre, and Dan Graham are nestled among pieces by contemporary practitioners, contributing to the sense of saturation. Originally curated[…..]

Everything You Need to Know

Marcel Broodthaers, DVD movie still, GRT Archive. I remember the first time I saw a work by Marcel Broodthaers. It was also the first time I had heard of him. I had just begun working as an exhibitions installer at the Harvard University Art Museums and we were installing Extreme Connoisseurship, a show curated by Linda Norden from, if I recall correctly, the Fogg’s collection[…..]

For the blind man in the dark room looking for the black cat that isn’t there

On view until January 3, 2010 the Contemporary Art Museum St. Louis presents its most ambitious group show since its grand opening six years ago. Curated by Anthony Huberman, For the blind man in the dark room looking for the black cat that isn’t there starts with the premise that art is not a code that needs cracking. Celebrating the experience of not-knowing and unlearning,[…..]