SYMPOSIUM: Collecting the “Uncollectible”: Earth and Site-Specific Sculpture

Presented by the Center for the History of Collecting, Frick Art Reference Library, The Frick Collection, NY
Thursday, May 23, 2019, 2 – 7 p.m.

More information:
Program PDF

This half-day symposium focuses on collecting site-specific, large-scale, and light-based works by artists including, among others, Walter de Maria, Nancy Holt, Robert Smithson, Michelle Stuart, and James Turrell. A panel of scholars, curators, collectors, an artist, and a conservator explores related challenges of installation, maintenance, preservation, and ultimate stewardship. Virginia Dwan, Suzaan Boettger, Jarl Mohn, Jessica Morgan, Leonard Riggio, and Michelle Stuart are among the participants. Sponsorship from the Robert H. Smith Family Foundation and Northern Trust has made this event possible.

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CONNAISSANCE DES ARTS: Nabis (Connaissance des Arts)

Nabis (Connaissance des Arts), book coverConnaissance des Arts. Nabis 1970. Unmarked. L’Exposition du Grand Palais sticker on cover. Text in French. Very Good. Paperback. (#29902) $15.00

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DE CRIGNIS, R: Rudolf de Crignis: One Painting and Brochure

Sabine Muller. Rudolf de Crignis: One Painting. Gallery S65, 1998. Unmarked. Very Good. Paperback. (#29895) $30.00

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Catalog for an exhibition at Gallery S65, September 12-October 24, 1998. In Dutch, English and German. Color plates. 29p.

Includes laid in 4 panel gallery brochure for Matrix 245 exhibition, January 30-May 5, 2013, with one image.

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KREMER, N: Telling Paint: Paris-Oakland, 2001-2003

Telling Paint: Paris-Oakland, 2001-2003, book coverNaomie Kremer. Telling Paint: Paris-Oakland, 2001-2003. Modernism, 2003. Unmarked. Very Good in fair dust jacket. Paperback. (#29898) $22.00

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Book Review of William Kentridge: Process as Metaphor and Other Doubtful Enterprises

In my 2007 Leonardo review of Rosalind Krauss’ book Perpetual Inventory I characterized her essay on William Kentridge as the most compelling in the book [1]. Krauss introduced him as a South African artist whose animated films pursue the problems of apartheid and spoke about how he creatively mixed film, drawing, and erasure with highly charged ideas. She also spoke about how his peripatetic approach, improvisational process (fortuna), and his use of erasure spoke of a creative practice that combines drawing and seeing with making and assessing. Krauss concluded that regardless of whether Kentridge’s drawings for projection come together in a series that examines apartheid, capitalist greed, eros, memory, or whatever, his process is not based primarily on the theme of the series. Rather, in her view, and I share her view to some degree, the works result through the dictates of his creative process. William Kentridge: Process as Metaphor and Other Doubtful Enterprises by Leora Maltz-Leca sees his philosophical relationship to the work as more important than his creative practice per se. Therefore, one intriguing question on my mind as I wrote this review is why Maltz-Leca, and indeed Kentridge himself as relayed in this book through a number of interviews, did not change my mind.

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