Anne Rorimer

  • Art handlers move statue into place for Michael Asher’s untitled installation for the 73rd American Exhibition, Gallery 219, Art Institute of Chicago, 1979.

    Michael Asher


    MICHAEL ASHER developed his renowned and innovative practice by originating, with others of his generation, a site-specific way of working. He has also been labeled one of the founders of so-called institutional critique—a potentially misleading term, unless the word critique is clearly understood as relating to art’s capacity for self-reflective analysis (and not construed as simply censorious). Asher’s lifelong interest in reevaluating the traditional, discrete, material object led him, over the course of a career spanning more than forty years, in multiple pathbreaking

  • Michael Asher: Recent Work

    No one would deny that the painter has nothing to do with things that are not visible. The painter is concerned solely with representing what can be seen.

    —Leon Battista Alberti, Della Pittura, 1435

    NO ONE TODAY WOULD DENY Alberti’s preceding statement, although one pauses in realizing that it has taken five hundred years for the artist to disengage his work from Renaissance principles of perspective. The work of Michael Asher severs all remaining allegiance to the traditional division between real and artificial space.

    Works by Asher were on view in Chicago last summer, one at the Art Institute

  • Blinky Palermo: Objects, “Stoffbilder,” Wall Paintings

    WHEN BLINKY PALERMO1 MOVED from Düsseldorf to New York in 1974, three years before his death at the age of 34, he had already created a highly significant body of work. While far from being well known in the United States, Palermo’s art of 1964–1974, made while he was still a very young artist, is central to any consideration of artistic concerns and innovations, in Europe and America both, after 1965.

    In a brief time span Palermo’s work took different forms. During the later 1960s and early 1970s Palermo’s ideas resulted in distinct and separate kinds of work, which, in terms of the artist’s