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Posts Tagged ‘Dave Hickey’

SITE Santa Fe — YouTube Video Trailer: Art Critic Dave Hickey speaking with Art Historian Julia Friedman (4.15.16)

Posted on May 5, 2016, 9:18 AM, by jfriedman, under video, video trailer.

Tags: Dave Hickey, Dust Bunnies, Julia Friedman, SITE Santa Fe, Video Trailer, Wasted Words, Youtube
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Photos From SITE Santa Fe Discussion With Dave Hickey and Julia Friedman 04.15.2016

Posted on April 20, 2016, 11:41 AM, by jfriedman, under Dave Hickey, Event, Julia Friedman, Photos, SITE Santa Fe.

Tags: Dave Hickey, Dust Bunnies, Julia Friedman, Photos, SITE Santa Fe, Talk, Wasted Words
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Listen on KNPR: Art Critic Dave Hickey On Facebook’s “Wasted Words” And The Lack Of Good Art (8 mins)

Posted on March 8, 2016, 5:20 AM, by jfriedman, under Dave Hickey, Dust Bunnies, Julia Friedman, KNPR Las Vegas, Wasted Words.

Tags: Dave Hickey, Dust Bunnies, Julia Friedman, KNPR, Las Vegas Public Radio, Radio Interview, Wasted Words
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Photos From The CAC (Las Vegas) Discussion With Dave Hickey and Julia Friedman 03.05.2016

Posted on March 8, 2016, 3:25 AM, by jfriedman, under CAC Las Vegas, Dave Hickey, Dust Bunnies, Julia Friedman.

Photos From The CAC (Las Vegas) Discussion With Dave Hickey and Julia Friedman 03.05.2016 Photos by Checko Salgado

Tags: CAC Las Vegas, Checko Salgado, Dave Hickey, Dust Bunnies, Julia Friedman, Wasted Words
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Photos From The 2016 LA Art Book Fair
With Art Catalogues (LACMA)

Posted on February 15, 2016, 11:40 AM, by jfriedman, under LA Art Book Fair.

Tags: Art Catalogues, Dave Hickey, Dust Bunnies, Julia Friedman, LA Art Book Fair, LACMA, Wasted Words
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LG Williams “Salaryman/Superman” at Tana Gallery Bookshelf

Posted on February 9, 2011, 10:05 AM, by jfriedman, under Contemporary Art Tokyo, installation, Super Window Project, TANA Gallery Bookshelf.

LG Williams, Salaryman/Superman, 2011, installation view Tana’s director Tamura Williams’s Kyoto Gallery dealer Baron Osuna of Super Window Project (right) and Williams’s Tokyo Gallery dealer Tamura (left) Still independent curator Shai Ohayon and Beatriz Inglessis The SHIBUHOUSE gang from left to right: Nakajima-san (aka DOPE MAN), Toshikuni-san and TAIKI-SAN (the 3rd house leader) Tana’s latest […]

Tags: 303 Gallery, Andy Kaufman, Art, Art Basel, Art Criticism, Art History, Art Instruction, artfair, ARTFORUM, Avant-Garde, Banksy Punked, Baron Osuna, Beavis and Butthead, Bosoms and Bottoms, Bruce Nauman, Chris Burden, Coagula Art Magazine, Contemporary Art, Dada, Dale Eldred, Dave Hickey, Dave Hollowell, Dia Art Foundation, Drawing Upon Art, Father Guido Sarducci, Fluxus, Frieze Art Fair, FUCKTHATGALLERY, Funk Art, Gagosian Gallery, Gardner's Art Through The Ages, Honolulu Weekly, House Where The Bottom Fell Out, Hunter S. Thompson, John Arthur Jack Johnson, John Belushi, LG Williams, lgofbeverlyhills, Lisa Spellman, Liste Art Fair, Literary Criticism, Los Angeles Art, Mahabharata, Mara McCarthy, MOMA, Museum of Modern Art, Obey Punked, Paul McCarthy, PCP Press, Perfect Corner Press, Poetry, Radiohead, Super Window Project, Tana Bookshelf Gallery, Telephonebooth Gallery, The Anonymous Auto Requiem Collective, The Big Lebowski, Theory of Art, Thomas Paine, Tokyo Weekender Magazine, UACAWSACCADB.com, Ubu, Wally Hedrick, Whitechapel Gallery, Whitney Museum, www.lgwilliams.com, Yves Klein
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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
- From Sfumato to Ganzfelds November 14, 2024
  The Honarkar Foundation just published a catalogue for their current exhibition LUMINARIES OF LIGHT: PIONEERS OF CALIFORNIA LIGHT AND SPACE MOVEMENT curated by Genevieve Williams. My essay “From Sfumato to Ganzfelds” argues that in order to remove the barriers between the art and its audiences, California Light and Space artists relied on the same four […]
  jfriedman
- 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

Posts Tagged ‘Dave Hickey’

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