COLUMNS

  • The damaged Mackintosh building.

    Glasgow School of Art’s Mackintosh Building (1909–2018)

    THE NEWS THAT ONE OF SCOTLAND'S MOST TREASURED WORKS of historic architecture—Glasgow School of Art’s celebrated “Mackintosh Building”—had been gutted by fire on the evening of Friday, June 15, prompted an outpouring of collective grief on a scale rarely encountered outside the context of a state funeral. One after another, a stream of prominent local and national figures—politicians, artists, architects, academics, members of the School’s global population of distinguished alumni—stepped forward to record their sorrow, many of them describing the sense of loss they felt as having the force of

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  • Robert Indiana, The Metamorphosis of Norma Jean Mortenson, 1967, oil on canvas, 102 x 102".

    Robert Indiana (1928–2018)

    ROBERT INDIANA RODE THE WAVE of Pop art that engulfed the art world in the early 1960s. Drawing on the vernacular vocabulary of highway signs and roadside entertainments, he fashioned an art whose dazzlingly bold and visually kinetic surfaces radiated the ebullience of postwar America while simultaneously exposing the country's dark history of avarice, materialism, and racial injustice. His appropriation of the seemingly cheerful and reassuring language of mass advertising to communicate the failures of the American dream was spellbinding. By 1963, he was being heralded as one of the tastemakers

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  • Glenn Branca performing The Ascension at Bonds International Casino, New York City, in 1981. Left to right: Glenn Branca, Lee Ranaldo, Ned Sublette, Jeffrey Glenn, David Rosenbloom, Stefan Wischerth. Photo: Paula Court.

    Glenn Branca (1948–2018)

    MY CLOSEST MALE FRIENDS have always been musicians, and often Libras. Examples include Steve Reich and Glenn Branca. When I first met Glenn, we discovered we had a shared love for the Kinks and the novels of Philip K. Dick. I had the most fun with Glenn in quickly improvised collaborations. My first collaboration with him was when I asked him to score the 1981 Cologne exhibition “Westkunst.” The show's curator, Kasper König, asked me to do a short documentary segment that was for German TV. Kasper wanted me to do a section about the '70s that would feature my Homes for America photos. The film's

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  • Buster Cleveland, ART FOR UM, Vol.3, Issue 6, INTERACTIVE, 1996.

    Geoffrey Hendricks (1931–2018)

    A QUARTER CENTURY AGO, Buster Cleveland would drive me, in his yellow Mercedes, over to Geoff's townhouse and have me ask him if he wanted to “go for a ride.” I'm recalling that as our first exchange.

    Geoff brought more than I ever could have imagined into my world, as did I into his. Early memories: having me shave his head as a tribute to his dear friend Dick Higgins; illustrating one of Higgins's Danger Music scores. Or flying to Spain from London one winter holiday to visit my longtime friends and marveling at Geoff pick oranges to bring back to London and share with our loved ones.

    We made

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  • Sam Miller (1952–2018)

    SAM MILLER'S IMPRINT on the performing arts in the United States is indelible, but he himself was an enigma. I was always at a loss for what to call him. Curator? Producer? Funder? Entrepreneur? Cultural architect?

    He was all of these things. And as well, he was a poet.

    When he was the director of New England Foundation for the Arts (NEFA) between 1995 and 2005—during which time he founded the National Dance Project (NDP), and the Contemporary Art Centers (CAC) and Centers for Creative Research (CCR) initiatives—he became impatient with writing the obligatory annual “letter from the director.” So

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  • James Yood (1952–2018)

    IN 1989, the same year I started graduate school at Northwestern University, Jim Yood was hired as the college’s lecturer and assistant chair in the department of art theory and practice. He had stepped in to take the reins from the cantankerous art critic Dennis Adrian, who was proudly dispassionate about anything that diverged from a Chicago Imagist tradition. It was here where my deep and enduring respect for him began.

    For the past twenty-nine years, Jim has never stopped teaching me. He taught me the virtue of the art review. As a spirited advocate for Chicago, he underscored the cultural

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  • Marcia Hafif (1929–2018)

    AT DIFFERENT POINTS IN HER CAREER, Marcia Hafif proposed a cave, a solitary room with no distractions, and a lusthus (gazebo) in the middle of a remote forest as appropriate environments for and as art. Within the contemporary milieu, such possibilities promise particular grace, sheltering us from the chaos by which we find ourselves surrounded. She was not suggesting escape, however, for she also engaged consistently in an ongoing practice: studiously, carefully, one stroke after another. Nor was this proposal insular. Hafif’s almost lifelong practice of mark-making toward seemingly monochromatic

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  • Laura Aguilar (1959–2018)

    I FIRST SAW A LAURA AGUILAR PHOTOGRAPH about twenty-five years ago, I think in a local art magazine in Los Angeles. The fact that I cannot remember my first encounter has to do not with its lack of impact but, to the contrary, with the fact that from that moment onward, Aguilar's work became a mainstay in my thinking, teaching, and writing about issues surrounding embodiment in photographic representation, making it seem as if I'd always known these images, mostly portraits and self-portraits. I met Laura, and shortly thereafter, the photographs gained texture and depth. One on one, Laura was

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  • Kynaston McShine

    I AM STANDING in Galerie Lelong, looking at a show of the art Hélio Oiticica made during his years in New York in the 1970s. On the front desk is a book that I pick up and skim, finding an interview with a fellow Brazilian who was close to Oiticica in those years of shared exile. He is asked whom the two men spent time with—who was their social world. Well, he says, we were pretty much alone, we didn’t really know anyone . . . except, of course, Kynaston McShine at the Museum of Modern Art.

    This memory from a good few years back, which I now can’t completely reconstruct—was Oiticica’s

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  • Kynaston McShine

    I DID NOT SEE the “Primary Structures” exhibition in 1966. I was living in Florence. Shortly after I moved to New York in 1967, a curator from MoMA, Kynaston McShine, made an appointment to visit. When he came to see me, I was somewhat astonished: white pants and shirt, red scarf, loafers, no socks, an irresistible smile, elegant, charming. I forgot to mention that he was black. Kynaston wanted to know everything about me and my work; we talked, a rapid exchange, back and forth. We hit it off immediately. Kynaston had a lightning-quick wit and sarcasm that would reduce you to silence. He was

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  • Josip Vaništa (1924–2018)

    IN 1959, a group of artists, critics, curators, and historians founded the group Gorgona, a clandestine association of like-minded creators who began sending transmissions into the world—most famously in the form of an antimagazine of the same name—until 1966, when the group formally disbanded. The driving force and intellectual motor of Gorgona was the artist Josip Vaništa, who had studied and taught architectural drawing since the early 1950s, though he never practiced the discipline himself.

    If Gorgona was, in essence, an attitude, a rumor, and an invocation, Vaništa was the keeper of the

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  • Helen Mayer Harrison. Image from the The Time of The Force Majeure, After 45 Years Counterforce is on the Horizon, Prestel (2015).

    Helen Mayer Harrison (1927–2018)

    HELEN MAYER AND NEWTON HARRISON, often referred to simply as “the Harrisons,” became known for their ecological systems art, which first emerged in the early ’70s. Helen is no more on this earth she loved, but we can imagine her serenity at contributing to its energies on another level. In her own words in a recent catalogue, she relates how her art career began: “I, Helen, began to invest myself in the earth that Newton had made.” But we are not obliged to take such a modest statement literally; we can leverage it by listening to the sharp wit and lively voice in scores of online interviews

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