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Articles by Barbara Rose
From the Archives: Lee Krasner, American Great
“The painter Lee Krasner, a major force in the breakthrough years of American art, here in her barn-studio outside the small village of Springs, New York. Behind her, two works in progress and, far right, a painting finished in 1971 with all the sweep and energy of her newest work.” So reads the original caption for this image, published by Vogue in 1972.
Letter: I-10 wildlife crossing story
Thank you for reporting about the wildlife crossings, and how our county supports responsible development that considers wildlife. The Oracle Road wildlife crossings are proving to be highly effective and hugely popular, and more crossings are needed to improve road safety, reduce wildlife and vehicle collisions, and support both wildlife - and human - transportation corridors. I voted for the 2006 RTA Plan sales tax for the wildlife crossings, and for greater open space protection.
Memories of Tohickon Village and Lake Nockamixon
Personalised advertising and content, advertising and content measurement, audience research and services development Store and/or access information on a device You can choose how your personal data is used.
Letter: A huge thank you from Gun Lake
The Gun Lake Ratepayers Association (GLRA) is a non-profit society whose main purpose is to promote, encourage and engage in the conservation, preservation, enhancement and stewardship of the Gun Lake Watershed on behalf of its area residents, registered landowners and recreational users.
Ten steps to sensational copywriting you can take right now
In a noisy world, every word, phrase and sentence you write needs to sing. This means your copy must be pitch perfect. I’m often asked what a copywriter does, usually by my dad, who as a builder by trade has never really been able to get his head around how words can earn you a living. I would pick up the nearest item with a label on it and tell him: “See those words? That is copywriting.” In fairness, that answer does copywriters a disservice, because I’ve oversimplified it massively.
Away from Endless War
An interesting New York Times op-ed (Feb. 24) by Stephen Wertheim titled “America Is Not ‘Back.’ And Americans Should Not Want It to Be” actually relates some generally unspoken facts of recent U.S. foreign policy. Wertheim says that despite Trump’s description of himself as “militaristic,” he didn’t start any new foreign wars.
Hope for Yemen | New Oxford Review
Daniel Larison, over at The American Conservative, writes on one significant change to U.S. foreign policy in the first few weeks of the new president’s term. In “Joe Biden’s Good Start On Yemen” Larison explains a first step taken toward ending our involvement in Saudi Arabia’s war. A link to the Larison article is provided at bottom. First, a few highlights: – Years of determined activism by a left-right alliance of the war’s opponents have made Yemen a priority for the new administration.
ABC Art
On the eve of the first World War, two artists, one in Moscow, the other in Paris, made decisions which radically altered the course of art history. Today we are feeling the impact of their decisions in an art whose blank, neutral, mechanical impersonality contrasts so violently with the romantic, biographical Abstract Expressionist style which preceded it that spectators are chilled by its apparent lack of feeling or content.
Problems of Criticism IV: The Politics of Art, Part I
I CAN IMAGINE, IN THESE days of global intercourse and indiscriminate CIA subsidy, a cultural summit meeting at a health spa outside of, say, Montevideo. Here South American revolutionaries, who might be underpaid intellectuals by day and guerillas by night, could sunbathe with their Yanqui opposite numbers, former Trotskyites who now contribute to the mass media, discussing cultural problems of mutual interest.
Gayleen Aiken: Interiors
ArtSeen On View Fort Gansevoort September 15 – October 24, 2020 New York She seemed delightfully eccentric, the white-haired lady with her nervous laugh, the musical instruments she played in a manic frenzy, and the stories she repeated. You may have wished for a grandmother like her, unless you happened to look inside her handbag only to find the shrunken head, the fetish, the monkey’s paw. Gayleen Aiken was not anybody’s granny. And she was not the second coming of Grandma Moses, the folk artist.
Between the Lines
ArtSeen Luis Camnitzer, Jack Whitten, Valeska Soares, Jennie C. Jones, and Hassan Sharif On View Alexander Gray Associates September 11 – October 17, 2020 New York “When I read between the lines the paper stares back at me telling that I haven’t wondered enough,” reads the final iteration of Luis Camnitzer’s Between the Lines (2013), for which this group exhibition at Alexander Gray Associates is named.
Andrew Lyght: Second Nature
ArtSeen On View Anna Zorina Gallery September 10 – October 24, 2020 New York I first met Andrew Lyght when he arrived in New York in the mid-seventies. He could scarcely speak, he was so shy. He had just arrived in the US from Canada, where he had been living, when filmmaker Emile de Antonio introduced the reticent young artist to me and Frank Stella. He was holding a knapsack that wrapped up rusty iron workman’s tools. It looked to be his only possession.
Donald Judd
Born 1928. Lives In New York City. BECAUSE, ON FIRST ENCOUNTER, DONALD JUDD’S SCULPTURE is likely to look gratuitously self-generated, a discussion of his work ought to begin with a search for its sources and proper context. Since Judd’s highly rational and calculated approach is hardly apt to have results that are arbitrary or capricious, these ought not to be hard to locate.
‘Kill for Thrill’ 40 years later: A Town Grieves (Epitaph for a Slain Policeman)
3 minutes ago Editor’s note: The Tribune-Review wrote a series of articles 40 years ago about a murder spree in which four people were killed in eight days across Western Pennsylvania. This is one of the original articles, published on Friday, Jan. 4, 1980. Sitting at his desk in Apollo police offices, Police Chief Richard Murphy clenched and unclenched his hands as he told the story of 21-year-old patrolman Leonard Clifford Miller, who was found shot to death early Thursday morning.
Barbara Rose on Ad Reinhardt
Ad Reinhardt, Abstract Painting, Blue, 1952, oil on canvas, 18 x 14". © Estate of Ad Reinhardt/Artists Rights Society (ARS), New York. David Zwirner | 34 East 69th Street Ad Reinhardt, Abstract Painting, Blue, 1952, oil on canvas, 18 x 14". © Estate of Ad Reinhardt/Artists Rights Society (ARS), New York. The recent exhibition at David Zwirner of twenty-seven blue paintings made by Ad Reinhardt, focusing on the period between 1950 and 1953, was a tour de force on many levels.
Chicken Burrito Bowl (Instant Pot/Pressure Cooker)
Chicken Burrito Bowl prepared in Instant Pot start to finish for a weeknight dinner ready in 25 minutes. It has all you want from a hearty yet quick weeknight meal. Delicious chipotle chicken, black beans, corn, bell pepper, rice, and spice. Gluten free, nuts free. Also dairy-free (when served without dairy toppings). Burrito Bowls are my favorite when it comes to early Meal Prep. Even though Instant Pot ready this hearty meal in 25 minutes starting with fresh chicken and raw rice..
Perspective: The Pain in Spain
The distinctive character of the Spanish art market has its roots in the autonomías, the regional governments that exist because the Iberian peninsula was originally home to a number of independent kingdoms with different languages and cultures, the most powerful and wealthy of them being País Vasco, the northern Basque Country, and Catalonia, the rich heartland and industrial center, whose capital is Barcelona.
Jasper Johns: "Take an object. Do something to it. Do something else to it."
Typical of this dissolution of the background into a discontinuous fragmented surface is the 2010 print Fragment of a Letter, in which the artist draws images of a hand gesturing in sign language as the ground on which other images are depicted. In other works, stick figures meme the mariner’s message for S.O.S., which is now a voiceless cry. What is pictured is what cannot be said. This is the point at which language fails, when both artist and critic become silent.
Jasper Johns: "Take an object. Do something to it. Do something else to it."
Typical of this dissolution of the background into a discontinuous fragmented surface is the 2010 print Fragment of a Letter, in which the artist draws images of a hand gesturing in sign language as the ground on which other images are depicted. In other works, stick figures meme the mariner’s message for S.O.S., which is now a voiceless cry. What is pictured is what cannot be said. This is the point at which language fails, when both artist and critic become silent.
Johnie Scott, Barbara Rose, Maya Lin, Ed Ruscha, and Ian Volner on the NEA
the NEAJohnie Scott, Barbara Rose, Maya Lin, Ed Ruscha, and Ian VolnerIN SEPTEMBER 1965, President Lyndon B. Johnson signed legislation that would establish the National Endowment for the Arts, the largest arts funder in the United States. In March of this year, President Trump proposed its elimination. While any immediate action has been forestalled, the threat to thousands of community organizations, museums, artists, and projects that …ARTFORUM SUBSCRIBERS have full access to this issue.
The Uncanny: Barbara Rose on Carolyn Marks Blackwood's Story Series
Artist Carolyn Marks Blackwood with one of her new photographs. In the past, most of Carolyn Marks Blackwood’s photographs have ranged from abstractions to specific subjects that reference nature. The Story Series is different. These narrative photographs are psychologically charged and enigmatic. People have never inhabited Blackwood’s photographs. Visually, The Story Series is no exception.
Barbara Rose on Walter Darby Bannard (1934–2016)
How can we demonstrate that Mozart is “better” than Salieri or, for that matter, better than Elton John? Well, we can’t. . . . Mozart thrills me. . . . Elton John does not thrill me. . . . I suppose all we really can have is a Mozart fan club, which will grow or diminish with time. —Walter Darby Bannard, artcritical, 2002 WALTER DARBY BANNARD WAS BORN TO WIN.
Dick Bellamy: The Man Hiding at the Center of Everything (Published 2016)
July 22, 2016 He was slight and unassuming with a bushy mop of dark hair and deep circles under his eyes hinting at the alcoholic dissipation of a poète maudit. His voice was a suggestive murmur, both musical and raspy from smoking too much. Most people called him Dick.
Many strategies for survival: Barbara Rose on painting after Postmodernism
The below excerpt is taken from the art critic and historian Barbara Rose's catalogue essay for Painting After Postmodernism, an exhibition of 16 American and Belgian painters—including Walter Darby Bannard, Larry Poons, Werner Mannaers and Joris Ghekiere—who Rose sees as making a serious case for the continued relevance of painting in our digital age. The exhibition is on through 16 November at Vanderborght and Cinéma Galeries/the Underground in Brussels.
Claes Oldenburg - Interview Magazine
My rule was not to paint things as they were. I wasn’t copying; I was remaking them as my own.claes oldenburg When I asked Claes Oldenburg where he got his ideas, he said he made them all up as a child. This may seem an outlandish claim, but apparently it’s true. The privileged child of a Swedish diplomat, as a boy he invented a fantasy country called Neubern over which he reigned, designing the urban plan and all its facilities.
Rethinking Duchamp
Marcel Duchamp: La Peinture, Meme, the current exhibition at the Centre Pompidou in Paris, is a refreshing new look at Duchamp with many surprises. The title is fittingly a double entendre. Translated, it means “Even Painting” but the words spoken in French can also mean “Painting Loves Me.” The show is meticulously researched and brilliantly installed by Beaubourg curator Cécile Debray.
IN MEMORIAM Rene Ricard (1946 2014)
Growing up in Lowell, Mass., I often took the train to Boston to visit Gordon Cairnie’s Grolier Poetry Bookshop in Harvard Square, hoping to encounter an authentic poet. Harvard and Inman Squares in Cambridge had a handful of cafes, storefront galleries, and publishing collectives. The scene was dominated by the gothic shadow of John Wieners, already possessed by drugs and madness.
MATERIAL WITNESS: A TRIBUTE TO ROBERT RAUSCHENBERG (1925-2008)
GIVING AWAY AND LEAVING BEHIND: Such was the magnanimity of Robert Rauschenberg (1925–2008), arguably the most influential figure in postwar American art. Working at the intersection of media old and new, and touching the practices of other artists, musicians, dancers, and even engineers, Rauschenberg collected the world’s effluvia and detritus, its crossed signals and lost messages, only to return them as a gift.
The Graphic Art of Jasper Johns, Part II
As we look back from the middle of the twentieth century, what makes a medium artistically important is not any quality of the medium itself but the qualities of mind and hand that its users bring to it. —William Ivins, Prints and Visual Communication By innovation is meant simply an emphasis to which the contemporary public is not accustomed.
The Graphic Work of Jasper Johns
IF ONE OF THE VICES of current criticism is the exhaustion of superlatives, then it is not as crucial to dwell on the quality of Jasper Johns’s graphics now as it is to investigate other ways in which they are remarkable and unique. When quality is so apparent, to speak of fineness of impression, blackness of black and subtlety of values seems more the province of connoisseurship than of criticism. Yet the work does pose essential critical problems.
The Value of Didactic Art
This week, executive editor Lloyd Wise looks back at April 1967’s “The Value of Didactic Art,” one of the many benchmark essays written for Artforum in its early years by the critic, curator, and art historian Barbara Rose (1936–2020). Rose is celebrated and remembered by her friend and colleague Margit Rowell in our April issue. To read Barbara Rose is to partake in her “immense excitement and pleasure,” writes Rowell.
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