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Archive for the ‘Julia Friedman’ Category

Here at last!

Posted on January 13, 2011, 10:00 PM, by jfriedman, under Alexei Remizov, Julia Friedman.

Tags: Beyond Symbolism and Surrealism: Alexei Remizov's Synthetic Art, Northwestern University Press
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TANA Gallery Bookshelf: Salaryman + Superman

Posted on January 12, 2011, 6:59 PM, by jfriedman, under Contemporary Art Tokyo, Julia Friedman, LG Williams / Estate Of LG Williams, TANA Gallery Bookshelf.

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Emilia and Ilya Kabakov: Artists’ Talk

Posted on January 3, 2011, 5:33 PM, by jfriedman, under Contemporary Art Tokyo, Julia Friedman.

Just watched a 2005 interview with the Kabakovs available as a podcast on the Tate webpage.

Tags: Contemporary Art Tokyo, Ilya Kabakov, Julia Friedman, Odilon Redon, Tate Modern
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Happy New Year! Top Tokyo Exhibitions of 2010

Posted on December 31, 2010, 7:21 PM, by jfriedman, under Julia Friedman, Miwa Yanagi, Mori Art Museum, Rat Hole Gallery, SHIBUHOUSE.

To celebrate the glorious end of Tokyo’s 2010 exhibition year I put together the list of three of my favorite shows of the year. For the sake of even distribution I picked one show by an emerging gallery, one show by an established gallery and one museum show. Venue: TANA Bookshelf Gallery Exhibition: SHIBUHAUSE installation […]

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CLOSED By LG Williams / Estate Of LG Williams At Super Window Project, Kyoto, Japan

Posted on November 29, 2010, 9:23 AM, by jfriedman, under Contemporary Art Tokyo, Julia Friedman, LG Williams / Estate Of LG Williams, Super Window Project.

On November 19th, Baron Osuna’s Super Window Project launched CLOSED, their first solo show of the Los Angeles artist LG Williams / The Estate Of LG Williams. I was traveling at the time of the opening and could not be at the event so this posting is necessarily delayed. Here are some links from the […]

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Kyoto Openings: Taka Ishii and TKG Editions

Posted on November 8, 2010, 1:30 PM, by jfriedman, under Ai Weiwei, Contemporary Art Tokyo, Julia Friedman, Taka Ishii, Tomio Koyama.

Jeffrey Rosen and Julia Friedman with Lisa Lapinski’s Tobacco Camel, 2010. Plastic foam, adhesive, Tops and Bali Shag Tobacco, 134.6(L) x 33(W) x 106.7(H) cm Taka Ishii Kyoto branch is now showing the new work of a Los Angeles artist Lisa Lapinski. The exhibition, entitled “Th th th th th Snow White” is more complicated than one […]

Tags: Ai Weiwei, Contemporary Art Tokyo, Jeffrey Rosen, Julia Friedman, Lisa Lapinski, Taka Ishii, TKG Editions, Tomio Koyama, Yutaka Watanabe
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Vik Muniz “Pictures of Paper”

Posted on November 3, 2010, 9:31 PM, by jfriedman, under Contemporary Art Tokyo, Julia Friedman.

The Great Turf, after Dürer, 2010, Digital C-print, 136.3 x 101.6. Image courtesy of the gallery. Nichido Contemporary Art is exhibiting the latest work of Vik Muniz. The eight compositions on display interpret different points on geographical and chronological maps of art history through the aesthetic prism of ukiyo-e prints. Hiroshige, Harunobu, Hokusai, Willem van Aelst, […]

Tags: Albrecht Dürer, Harunobu, Hiroshige, Hokusai, M.J. Heade, Nichido Contemporary Art, Vik Muniz, Willem van Aelst, Winslow Homer
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I Don't Understand with William Shatner: What makes something art?
Netflix Documentary "Bob Ross: Happy Accidents, Betrayal & Greed" (2021). Directed by Joshua Rofé.
UCLA Hammer Museum: in conversation with Dave Hickey 05.11.16.
Dave Hickey & Julia Friedman from Hammer Museum on Vimeo.
Site Santa Fe: in conversation with Dave Hickey 04.15.16.
The great modernist eccentric Alexei Remizov was a “writers’ writer” whose innovative poetic prose has long since entered the Russian literary canon. Gradually expanding his working methods to make drawing an integral part of the writing process, during the 1930s and 1940s, Remizov created hundreds of albums that combined texts with collages and india ink and watercolor illustrations. (more) Northwestern University Press 7 x 10, 300 pgs, Trade Cloth ISBN 0-8101-2617-6 / $69.95
Skira Editore Milano just published a monograph on British-Iranian artist Reza Aramesh. In addition to several texts, and an interview with the artist, ACTION: BY NUMBER contains a catalogue raisonné of his work from 2002 onwards, including Aramesh’s recent marble sculpture. I discuss the art-historical genesis and cultural meaning of these spectacular and frightening works in my essay “The Meta of Marble.” (pp.124–129). SKIRA Editore Milano Hardcover. 248 pages, 153 ill., size 24x28cm ISBN 978-88-572-5285-8
Between June 2014 and April 2015, Dave Hickey posted almost 3,000 digital comments on social media, prompting nearly 700,000 words in response from art lovers, acolytes, and skeptics. Wasted Words is an unedited comprehensive transcript of these exchanges. This polyphonic digital discourse reveals the range of Hickey’s strong opinions, as he embarks on a crypto-enlightenment project for the benefit of "dunces" and "pricks." Paperback, 586 pages, 2016 ISBN-10: 1517287103
Dustbunnies is an assemblage of “swept up” fragments that came from a vast digital discourse that took place in Dave Hickey’s social media space between June 2014 and March 2015. During that time Hickey posted almost 3,000 comments, prompting nearly 700,000 words in response from art lovers, acolytes and skeptics. Wasted Words, the resulting volume, is an unedited comprehensive transcript of these exchanges. Its pendant publication, Dustbunnies, distills Hickey’s richly aphoristic comments, extracted from various discussion threads. Paperback, 124 pages, 2016 ISBN-10: 152327266X
Over the past seven years Wayne Thiebaud has made dozens of paintings, drawings, and etchings of clowns. Like much of his work, this latest series is in a sense autobiographical. During his boyhood in Long Beach he looked forward to the visits of a traveling Ringling Brothers circus and sometimes helped out behind the scenes in exchange for tickets. The costumes, faces, and antics of the clowns were the beginning of a lifelong fascination for him. The clown series is its culmination, in which the now 100-year-old artist revisits those early memories. In December 2019 Wayne Thiebaud unveiled a selection from his clown series at the San Francisco gallery founded by his son, Paul Thiebaud. The Laguna Art Museum exhibition will be a version of the Paul Thiebaud Gallery exhibition, featuring more than forty works. Fully illustrated with 56 artwork reproductions. Essay by Dr. Julia Friedman. Interview with the artist by Janet Bishop, the Thomas Weisel Family Chief Curator and Curator of Painting and Sculpture at San Francisco Museum of Modern Art. Hardcover: 100 pages; ISBN-10: 0578798573ISBN-13: 978-0578798578
Celebrating the 100th birthday of one of America's most respected and beloved artists, Wayne Thiebaud 100: Paintings, Prints, and Drawings honors a lifetime of extraordinary achievements across many genres. Best known for his tantalizing paintings of desserts, Thiebaud has long been affiliated with Pop Art, though his body of work is far more expansive, continuing to grow as the artist approaches his milestone birthday. Across the decades, Thiebaud has explored various details of American life through his art from urban views and rural landscapes to clowns and household items all the time continuing to explore the food subjects that made him famous. Wayne Thiebaud 100 accompanies an exhibition of the same name, organized by the Crocker Art Museum. In addition to the 100 paintings, prints, and drawings featured in the exhibition, this publication includes numerous other contextual paintings by Thiebaud, art by the masters who inspired him, and photographs of the artist with family and friends, taken over the course of his extraordinary career. Hardcover : 212 pages ISBN-10 : 1087501172 Dimensions : 9.8 x 0.9 x 11.3 inches ISBN-13 : 978-1087501178
Consuming Russia: Popular Culture, Sex, and Society since Gorbachev Adele Marie Barker (Editor), Eliot Borenstein (Contributor), Julia Friedman (Contributor), Adam Weiner (Contributor), Elizabeth Kristofovich Zelensky (Contributor), Robert Edelman (Contributor) With the collapse of the Soviet empire in the late 1980s, the Russian social landscape has undergone its most dramatic changes since the Bolshevik Revolution in 1917, turning the once bland and monolithic state-run marketplace into a virtual maze of specialty shops—from sushi bars to discotheques and tattoo parlors... (more) Paperback: 488 pages Publisher: Duke University Press Books (June 10, 1999) Language: English ISBN-10: 0822323133 ISBN-13: 978-0822323136
“A Powerless Seeker: Merezhkovsky’s Romance as Life-Writing” by Julia Friedman In Symbolism, its Origins and Consequences. Edited by Rosina Neginsky. Cambridge: Cambridge Scholars, 2010 Hardcover: 665 pages Publisher: Cambridge Scholars Publishing New edition edition (October 1, 2010) Language: English ISBN-10: 1443823929 ISBN-13: 978-1443823920
“The Writing-Drawing Continuum of Alexei Remizov,” by Julia Friedman "Elective affinities" - a notion originally borrowed by Goethe for his 1809 novel of the same title from eighteenth-century chemistry - here refers to the active role of the two partners in the relationship of the pictorial and the verbal... In In Elective Affinities: Word & Image Interactions 6, 2008 Edited by Catriona McLeod, Véronique Plesch and Charlotte Schoell-Glass. Amsterdam and Atlanta: Rodopi Paperback: 422 pages Publisher: Rodopi (June 20, 2009) Language: English ISBN-10: 9042026189 ISBN-13: 978-9042026186
“Alexei Remizov’s Creative Act,” by Julia Friedman. Edited by Maurice Geracht and Frédéric Ogée. In Interfaces: Image Text Language, vol. 29, 2010
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Julia Friedman
- In search of the “problematic” October 17, 2024
  My latest article for Quillette is an update of sorts on Robert Hughes’ writings from three decades ago about the “therapeutic fallacy” and the “censorious right.” Now it is the censorious left that is swinging the bat.
  jfriedman
- A fix for loneliness October 3, 2024
  The latest issue of the Dallas-based humanities quarterly is dedicated to the Edith and Peter O’Donnell Jr. Atheneum—the 12-acre UT Dallas campus art district designed by iconic architecture firm Morphosis. I contributed an article “Why we Need the Athenaeum” in which I argue that the Athenaeum model of public spaces is exactly what our culture […]
  jfriedman
- LACMA’s Imagined “Imagined Fronts” July 1, 2024
  My take on LACMA’s rather disappointing exhibition that tried to make the Great War relevant to museum goers in 2024.
  jfriedman
- The Perfect Trifecta June 13, 2024
  My latest article for Quillette is about the perfect trifecta of performance art, sensationalist nudity, and media attention.
  jfriedman
- The Meta of Marble April 17, 2024
  Skira Editore Milano just published a monograph on British-Iranian artist Reza Aramesh. In addition to several texts, and an interview with the artist, ACTION: BY NUMBER contains a catalogue raisonné of his work from 2002 onwards, including Aramesh’s recent marble sculpture. I discuss the art-historical genesis and cultural meaning of these spectacular and frightening works […]
  jfriedman
- I Me Mine April 6, 2024
  This article published in Quillette is a cautionary tale about what happens when while looking at a painting one only sees their own reflection. As the historian Christopher Lasch pointed out four decades ago, disproportionate concern with “identity” is directly linked to the difficulties of establishing the boundaries of selfhood. And without the certainty of […]
  jfriedman
- Art History cancelled March 20, 2024
  The April issue of the New Criterion has my article about the Santa Barbara Museum of Art debacle—the eleventh-hour cancellation of the “Three American Painters: Then and Now” exhibition, and the firing of its curator Dr. Eik Kahng. Read and weep.
  jfriedman

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