Abstract |
SUMMER 2005
TABLE OF CONTENTS
LETTERS
PASSAGES
Daniel Birnbaum on Harald Szeemann
BOOKS
Mel Bochner on Donald Judd
Pamela M. Lee on Andrea Fraser
FILM
Keith Sanborn on Chris Marker
Daniel Birnbaum on The Ister
PERFORMANCE
Matt Saunders on Jonathan Meese's Mother Parsifal
Johanna Burton on Tracy + the Plastics
SLANT
Joe Scanlan on social space and relational aesthetics
ON SITE
Robert Lumley on the Fondazione Merz
TOP TEN
Josephine Meckseper
INSIDE OUT: ART'S NEW TERRITORY
Being There: Art and the Politics of Place
Anne M. Wagner
The Lay of the Land: An Experiment in Art and Community in Thailand
Daniel Birnbaum
Tristan da Cunha
Tacita Dean
Navigating the New Terrain: Art, Avatars, and the Contemporary Mediascape
David Joselit
A Text About High Desert Test Sites
Lisa Anne Auerbach and Andrea Zittel
A talk with the Center for Land Use Interpretation's Matthew Coolidge
Jeffrey Kastner
Remote Possibilities: A Roundtable Discussion on Land Art's Changing Terrain
Claire Bishop, Lynne Cooke, Pierre Huyghe, Pamela M. Lee, Rirkrit Tiravanija, Andrea Zittel, and Tim Griffin (moderator)
El Diario del Fin del Mundo: A Journey That Wasn't
1000 Words: Catherine Yass
Mark Godfrey
World Apart: The Films of Jia Zhangke
J. Hoberman
An Eye for an Ear: Art and Music in the Twentieth Century
Harry Cooper
Openings: Roberto Cuoghi
Alison M. Gingeras
Robert Rosenblum on
Salvador Dalí
Lane Relyea on
"Universal Experience: Art, Life, and the Tourist's Eye"
From New York, Chicago, Minneapolis, San Francisco, Los Angeles, Madrid, Rome, Bergamo, Naples, Paris, Vienna, Düsseldorf, Berlin, Hamburg, Brussels, Stockholm, Malmö, London, and East Tilbury/Workington, UK.
An Eye for an Ear: Art and Music in the Twentieth Century
The early years of the twenty-first century have seen a number of shows that have explored one of the least-understood aspects of modernism: sound, and its relationship to visual art. In his consideration of this "dark secret" of twentieth-century art history, curator Harry Cooper surveys this spate of recent shows—"Visual Music," co-organized by the Los Angeles Museum of Contemporary Art and the Hirshhorn Museum and Sculpture Garden, the Centre Pompidou's "Sons & Lumières," and a trio of exhibitions on the dialogue between Kandinsky and Schönberg—and suggests that the new preoccupation with sound might signal "some final, belated exorcism of Clement Greenberg." |