There are paintings, and then there are paintings — I’ll capitalize the latter. Anyone who has Seen a Painting will feel the Truth in this distinction, and anyone who has felt the dissatisfaction of merely seeing a mere painting — and who hasn’t? — will either suspect that such a distinction exists or turn away from the work in front of them in search of meaning elsewhere.
The musicians’ interpretation of the song seems to combine tradition and modernity, with the brass band itself representing tradition and the adapted song representing the modern, contemporary. However, the brass orchestras appear oddly out of time, unintentionally comical. They seem to be enacting the funeral of what they represent—the postal service as a state enterprise, tradition, and society before globalization. Yet, for centuries, the postal service symbolized progress, innovation, and renewal.
If the forced collision of dramatic characters and public situations is understood as a metaphor for art, then according to Mailand / Innenhof, art’s role seems to be that of a troublemaker. However, the “theoretical and practical creation of situations,” which echoes a situationist self-understanding, doesn’t only target scientific or political events. It also aims at the so-called cultural sector, and thus at itself.
…what goes beyond the performance as surplus action becomes the real content of the film, its driving purpose. The actors don’t only play a version of themselves in Olho da Rua, they act at their acting as well and in such a way that the indications of confidence or doubt that flash across their features are never so clear. Is the feeling theirs or another’s? Is it real or feigned for the camera? Do they themselves know?
Rosenfeld’s treatment of Freimuth’s video recording, which is both poetic and critical, follows the notion of the historical materialist as presented by Brecht’s friend Walter Benjamin in his Theses on the Philosophy of History. Film as historical research does not mean recognizing “how it actually was.”
I do not like 80064. I do not like watching it over and over again for the purpose of this essay. It’s pornographic raw tape of the unmediated real deal. Bullying an old man is a lazy stand-in for the work of art. It would be better to live in in a world in which this video does not exist. But it does.
In Chu’s film, the dismantling becomes a metaphorical operation: it signifies a disassembly of reality into elements—akin to the montage character of film itself. But does this reveal the true reality of social labor? Hardly, because labor resists representation, both in its social function—as a source of surplus value—and in its everyday individual experience.
Trotsky implemented the useful metaphor that art and politics are “fellow travelers". That is, they pursue the same goal of freedom, but by different means.
That paintings are to be “looked at” seems hardly worth saying, until you go to the Museum of Modern Art and find that very few of its six-million- visitors-a-year are looking at anything, or — God forbid you should pause in front of something — you get “moved along” by the guards, who may's well be muttering “nothing to see here” while they do it, like cops at a crime scene waving gawkers on.
The composer La Monte Young remarked that if he doesn't transport his listeners to heaven, he's not doing his job. How many artists today work by such ambitious standards, let alone do their job? What do critics then do when artists go on a disorganized anti-art strike?
There’s something pathetic about contemporary attempts to paint the present as an opportunity for art. Too late! If all it takes to “change” art is a change in the American president, there’s not much there to change. This is indeed an opportunity, but it is a shallow opportunity. If change might so easily be had, why was this opportunity not posed in 2020? Better yet, 2016?
The further one surrenders to the compositional dynamics in each work, the more archetypal or elemental they seem to become. They are classically modernist in this sense, distilling form into an essential image, a snapshot of a prototypical aesthetic idea. This seems resonant with the glyph theme in their titling. Juxtapositional interventions — in this case Hurley’s sticks — resolve into a formal irreducibility.
I penned the bulk of this review on the back of conversations with friends when we watched the film after it came to Hulu in the summer of 2023. But I sat on it, convinced that no one in the broader public had seen Chevalier — or ever would.
“I’m not fit to be a mother. There’s something else I’d have to do first — to change myself from a doll to a real human being.” With these words, Nora Helmer (Sarah Wharton) leaves her husband Torvald (Stephen Dexter) at the end of Royston Coppeneger’s new translation of Henrik Ibsen’s A Doll House (2024).
Often, you'll hear a painter mutter enviously while looking at a painting something along the lines of ”Damn. He just did whatever the hell he wanted.” Variations of this phrase were doubtlessly uttered many times over the last month throughout the adjoining galleries of David Zwirner’s 19th Street location, where Raoul de Keyser’s paintings hang on the walls, their apparent haphazardness inoffensively contrasting with the sky-lit gallery space.
I knew I wanted to write a review of Steven Soderbergh’s Presence when I walked out of the theater and a man in front of me exclaimed to a woman by his side, "That was dogshit!"
Ken Collins’s portrait of Richard Diebenkorn, used to promote the recent L.A. Louver show of his works on paper, is peculiar in its emphasis on the distance between the camera and its subject . . .
It seems to have been forgotten, in recent years, that the basic relationship of the artist to the world in modernity is one of estrangement.
Genese Grill reviews Henry van de Velde: Selected Essays, 1889–1914.
Patrick James Dunagan reviews Ted Berrigan’s Collected Prose.
Philippe Jaccottet’s 1981 essay on Osip Mandelstam, with poems translated by Matvei Yankelevich and John High.
Politically, melancholia may be more destructive than idealism, but aesthetically, doesn’t melancholia, as a kind of negative idealism, seem almost natural?
Victor Cova introduces a 1941 exchange between Claude Lévi-Strauss and André Breton.
Gilberto Perez’s commentary on history as seen through the lens of the filmmaker duo Straub-Huillet.
Personally, I associate Satie’s work with a feeling of the aridity that Nietzsche came to value over Wagnerism — the gentle sea-breeze in the highest mountains that wafts in from some strange land and tickles the senses with possibilities of spiritual freedom.
As the artist, reaching deep into nothing, with nothing, and only for the sake of desire, creates something great, far beyond the imagined object of desire, fulfilling and exceeding every wish in a way which could never have been fully anticipated, so too does the lover encounter the beloved.
He was not a literary artist in the sense that his work doesn’t seem to wrestle with questions of form; he’s not attempting to reinvent the surrealist modes at his disposal but rather making use of them as vehicles for his insurgent imagination and apocalyptic vision, the fury of which elevates his writing above and beyond the mere assemblage of irrational word combinations.
When I looked up Barrax’s collections, I found that his work spans not only relatively traditional-looking lyrics, but formally experimental poems that disarrange syntax and disperse words across the page.
After a century of deafness to the task and ambition of music, composers may need to relearn how to learn before Schumann’s words can even begin to make sense. How can the music of the past free the music of the present?
Jack’s poetry asks you, the reader, to abandon yourself, to engage with what you don’t know, and can’t understand, and enter a path of transformative gnosis.
Bret Schneider delves into everything from Indian ragas to Bach’s recreation of the mind with composer and pianist Michael Harrison.
Bret Schneider speaks with composer Katrina Krimsky about her career spanning half a century.
“I wanted to connect to people who were like-minded but also saw this as a new frontier with a lot of possibilities for art making.”
Bret Schneider and Omair Hussain discuss musical composition and their albums Drunk Walks and What Goes Away.
“Film is, for me, an art of composition.”