Julia Friedman :: JuliaFriedman.org

Posts Tagged ‘public art’

Decorating Our Decline

Posted on May 26, 2025, 11:38 AM, by jfriedman, under Art Criticism, art history.

When British sculptor Thomas J Price explains that his “strategy of inclusion” will counter the “endless stream of limiting tropes and identities for Black people,” he is inadvertently mimicking totalitarian injunctions.

Tags: politicsandart, public art, sculpture, socialistrealism
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In search of the “problematic”

Posted on October 17, 2024, 12:28 PM, by jfriedman, under art history.

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.

Tags: censorship, Douglas Murray, Edward Biberman, New Deal murals, public art, Rex Whistler, Robert Hughes, WPA
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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
- The art of demolition November 2, 2025
  The notorious 19th-century anarchist Mikhail Bakunin, who proclaimed that “the urge for destruction is also a creative urge,” has found an unlikely disciple in Trump. Considered together, the 1980 and 2025 episodes teach the lesson that destruction can be a form of authorship. Once the reliefs were gone, their loss defined both the building and […]
  jfriedman
- Posthumanism, memes, and the end of the real September 26, 2025
  Walter Benjamin called the twentieth century “the age of mechanical reproduction,” but his contemporaries were still capable of distinguishing between a celebrity’s real personality and her image. The twenty-first century is the age of digital reproduction, and it forces us to ask whether the general public still possesses the capacity to recognize such a distinction. […]
  jfriedman
- Svetlana Alpers on Art and Art History July 19, 2025
  Perhaps this is why Alpers is befuddled by today’s disciplinary confusion in which art, the master, is subjugated by art history, supposedly its emissary. Consider the following remark she made in a 2022 follow-up to the earlier conversation with Ziegler: “I agree with my great, late art historian friend Michael Podro, who said that painting […]
  jfriedman
- Wayne Thiebaud at the Legion of Honor July 19, 2025
  “Wayne Thiebaud: Art Comes from Art,” which opened at the California Palace of the Legion of Honor in San Francisco on March 22, is organized by the Fine Arts Museums of San Francisco and curated by Timothy Anglin Burgard. Its premise, spelled out in the title, is straight forward enough and firmly based on the […]
  jfriedman
- Decorating Our Decline May 26, 2025
  When British sculptor Thomas J Price explains that his “strategy of inclusion” will counter the “endless stream of limiting tropes and identities for Black people,” he is inadvertently mimicking totalitarian injunctions.
  jfriedman
- Hommes partout May 22, 2025
  A sad reminder of that newer does not mean better, as illustrated by the Getty Center exhibition “Gustave Caillebotte: Painting Men.” The organizers of “Painting Men” which aims to address the shortcomings of Caillebotte scholarship’s “blinkered view” concerning his purported “male bias” and alleged “questioning of masculine identity that seems freshly relevant today” were not deterred […]
  jfriedman
- Comfortably Numb December 21, 2024
  My contribution to David Carrier’s series “The End of Postmodernism” in the December/January opinions section of the Brooklyn Rail.
  jfriedman

Julia Friedman

Posts Tagged ‘public art’

Decorating Our Decline

In search of the “problematic”

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Julia Friedman