DOUGLAS CRIMP PICTURES ESSAY 1979
To mark the occasion, Galerie Buchholz has mounted Douglas Crimp: The above photograph,forexample,is enlargedto a widthof eighteeninches,therebymakingitshalftonescreenvisible,and printed on the left-handside of a seven-footlong bloodred field. There is an art museum in New Orleans but I have no memories of it—it was then an extremely provincial museum as I recall—so my first important encounters with art in museums were in New York. People began to talk about appropriation, popular culture, and representation. Pictures will travel to several U. Douglas Crimp believed that [Sherrie] Levine was on to something.
I was bringing that perspective to bear at a time when Rosalind and Annette had more or less withdrawn from the day-to-day work of the magazine—they had grown tired of it. The pictures on the walls had been taken down, leaving… Read More. This unusual corporate support for art that has not had extensive public exposure has created a situation where new work can be afforded the same serious attention as that often extended established art. This is for all the party girls. I began teaching gay studies at Sarah Lawrence College in and then taught queer theory at the University of Rochester, and I was very much aware of all the conservative gay journalism, which was also anti-theory, anti-queer theory. If manyof theseartistscan be said to have been apprenticed in the fieldof performanceas it issued fromminimalism,theyhave nevertheless begun to reverseits priorities,making of theliteralsituationand durationof the performedeventa tableau whose presenceand temporalityare utterlypsycholo- gized; performancebecomesjust one of a numberof ways of “staging” a picture. As to my sexuality, I made a very good choice when I decided to go to college in New Orleans, which had highly developed bohemian and gay cultures.
Before Pictures, New York City — through October 22, featuring art discussed in his book.
Making ‘Pictures’: A Short History of Douglas Crimp’s Famous Show at Artists Space in 1977
Both Pichures and Robert Longo’s works actually resemblethis odd artifact,as does that of John Mendelsohn, James Birrell,among others.
University of Chicago Press, As you were learning to write about art, especially at the very beginning when you were an editorial associate at ARTnewswho were you reading as models for how to write about art?
Retrieved 8 October Here is a picture: And in this,too, Fried’sfears were well founded. There are stories that people will undoubtedly not like to read about themselves. You made me, now you have to deal with me. All of this happened so quickly, and for a few years I really struggled.
But what is it, in fact, that crimpp this a picture of presentiment,of that which is impending? The interdisciplinary aspect that characterized the first ten years largely disappeared.
I opposed that narrative in all of my AIDS writing.
The Brooklyn Rail
But how you analyze that is a new question each time you are confronted with a work of art, because every work of art opens us to otherness differently. There is a dangerin thenotion ofpostmodernismwhichwe begin to see articulated,thatwhich sees postmodernismas pluralism, and which wishes to deny the possibilitythat art can any longer achieve pixtures radicalismor avant-gardism.
For if temporalitywas implicitin theway minimal sculpture was experienced,then it would be made thoroughlyexplicit-in factthe only possible mannerof experience-for much of theart thatfollowed. They tended to seize upon singular images and hold them up to scrutiny, frozen and melting.
I was reading Rosalind Krauss and Annette Michelson in Artforum before I met them, and I knew I wanted to study with Rosalind because of her writing for Artforum in the period after she broke esway with Greenberg and Fried.
He was one of the editors of the Gay and Lesbian Studies Reader Longo’s movie camera was trainedon a photograph,or more preciselya photo-montagewhose separate elementswere excerptedfroma seriesof photographs,duplicate versionsof the same shot. That posture, registeringa quick, jerkymotion,is contrasted,in this motionlesspicture,with thefrozenimmobilityof the statueof a lion.
The story I tell is true, but I suppose it could seem overly gossipy. My professors praised my writing. That shot showed a man dressedand posed in imitationof a sculptedaluminum relief thatLongo had exhibitedearlierthatyear.
Moreover,many of its characteristicsas discussedby Barthesare releventto theconcernsofall theworkdiscussedhere.
In my first year I took a required course in the history of picturex, in which I first saw lantern slides of architecture, and I loved it. The following essay takes its point of departurefromthe catalogue textfor Pictures;but criml focuseson different issues and addressesan aestheticphenomenon implicitlyextendingto esay more artiststhan the original exhibitionincluded.
Picture, used colloquially, is also nonspecific: The centralimage of his three-part tableau performance,Sound Distance of a Good Man, presentedlast year at Franklin Furnace, was a film,showing, with no motion at all save for the flickeringeffectof light thatis a constantfeatureof cinema the upper torsoof a man, body arched and head thrown back as if in convulsion.
Time is extremelycompressed the runningtimeis twenty-six seconds and yetextremely distended shown as a loop, it plays endlessly.
DOUGLAS CRIMP with Jarrett Earnest – The Brooklyn Rail
Issues Go to Cri,p I was bringing that perspective to bear at a time when Rosalind and Annette had more or less withdrawn from the day-to-day work of the magazine—they had grown tired of it.
It was my art world identity. Richard Schechner, who is still teaching performance studies at NYU, was a young professor of theater at Tulane when I was a student, and a very radical one. The suddenabjurationofnarrativetime solicits a reading that must remain inside the picture but cannot escape the temporalmode of which it is a fragment. It also featured some of the group’s artistic predecessors including John Baldessari and Allan McCollum.
Crimp was then a graduate student at the City University of New York, a young academic critic.