OH DEAR BOB . . . your death is unacceptable. Your absence joins the current stampede of death, diminishing the continued conversations among my generation. Missing in action. I am so grateful for our wonderfully enriching history and for the configuration of friends and work that surrounds the years we shared. We were neighbors here in the Hudson Valley, and it’s wrenching to consider that we cannot anticipate more good times together.

    I wanted you to know that taking the part of Olympia in Site, 1964, was a marvelous adventure for me. I was thrilled to reinvigorate that historic icon. There

  • Carolee Schneemann

    Painting as Theater: Improvised Movement–—
    Visceral, Tactile, Sensuous Variations

    I WAS SO READY to join an experimental movement group. Would they be ready for me? James Tenney and I had just completed our MFA studies at the University of Illinois, Urbana, his in experimental music, mine in painting. We were floundering. At the post office in Sidney, Illinois (population 686), there was a letter from Bell Telephone Labs inviting Tenney to join their electronic-music research staff. We decided to pack a U-Haul with all my paintings; his upright piano; our cat, Kitch; and our books and papers and

  • Summer Reading


    Whither photo history and theory? A growth field in universities and museums a generation ago, it seems endangered today. For young people, photography is so last-century; for the rest of us, it is both everywhere and nowhere in a way that is very difficult to grasp. On the one hand, the great modernist accounts, such as the technophilic utopia of Benjamin and the traumatophilic pathos of Barthes, appear outdated; on the other hand, distinguished voices from somewhat outside the field feel empowered to tell us “why photography matters as never before.” (Answer 1: Its digital pictoriality

  • Maria Lassnig,  Kantate or The Ballad of Maria Lassnig, 1992, video, color, sound, 7 minutes 35 seconds.
    passages October 01, 2014

    Maria Lassnig (1919–2014)

    IN 1974, A SMALL GROUP OF ARTISTS CAME TOGETHER. We named ourselves Women Artist Filmmakers. We were each painters dedicated to various materials, images. Our paintings had been consistently marginalized in the New York City world of heroic male traditions. Would presenting ourselves as both artists and filmmakers lead to a double marginalization? 

    Martie Edelheit’s shaping energy organized our film programs, helped us find printing labs, and brought to focus our shared editing processes. Within the feminist energies of the 1970s, Women Artist Filmmakers carried determination, distinction, and

  • Paul Thek, Untitled, 1966, wax, paint, polyester resin, nylon microfilament, wire, plaster, plywood, melamine laminate, rhodium-plated bronze, Plexiglas, 14 x 15 x 7 1/2". From the series “Technological Reliquaries,” 1964–67.



    WHEN I WOULD visit Paul’s place on East Third Street, I’d consider how similar our studios were. We both worked in this incredible density of materials—you were walking through what you were seeing, what was being built and evolved. The richness, the complexity that other people would call “messy” was all vivid potentiality for us . . . a vibrant gestalt.

    We would find and gather materials in the street and then call each other with the amazement of these chance discoveries. Once, I dreamed I had to have lengths and lengths of blue velvet cord; the next morning, in front


    To take stock of the past year, Artforum contacted an international group of artists to find out which exhibitions were, in their eyes, the very best of 2006.


    “Edvard Munch: The Modern Life of the Soul” (Museum of Modern Art, New York) In a rather cynical mode, I trudged uptown one day last spring to see the Munch show at MoMA for what I thought would be a cliché-ridden overview of Nordic gloom-goth. What I got instead was a hard punch to the gut: powerful color, radical ideas about the depiction of memory as space, paintings with emotional vanishing points rather than rational optical