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2004 Whitney Biennial

In the wake of backlash against huge group shows like Documenta 11 (“too political—where’s the art?”) and the Venice Biennale (“too difficult”), this year’s Whitney Biennial, if nothing else, will be remembered as a Biennial for the people.

Milton Resnick Remembered

“The desire to force a style beforehand is only a mere apology for one’s own anxiety,” Willem de Kooning once said. That remark poignantly broadened my reading of Milton Resnick’s entire oeuvre, especially after my first visit with a friend to his studio in 1986, a former synagogue on Eldridge Street.

Roth Time: A Dieter Roth Retrospective

It was during a detailed introduction to the Dieter Roth Foundation in Hamburg, Germany that I was first awed by this artist’s eclectic genius.

In Conversation

HARMANN NITSCH with Robert C. Morgan

Last October, Mike Weiss asked me if I would write an essay on the work of the seminal Austrian Actionist painter, Hermann Nitsch. Mike was in the process of planning an exhibition of Nitsch’s new work to be held at his gallery in February 2004.

In Conversation

Matthew Brannon with Roger White

Matthew Brannon’s recent show at John Connelly Presents, Exhausted Blood and Imitation Salt, consisted of two canvas tapestries, (needlepoint and sprayed acrylic, showing imagery of bamboo and birds), two silkscreened posters advertising nonexistent films (House of Rot and Sick Decisions), four letterpress-printed wine labels, and two ink drawings of place settings.


The Brooklyn Rail

APR 2004

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