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The Eye of the Storm:
Works in situ by Daniel Buren

Upon entering the ground floor atrium of Frank Lloyd Wright’s Guggenheim Museum, its massive concrete ramps spiraling up toward the skylight, one encounters a towering mirror-covered cube supported by scaffolding elaborately rigged to one side of the museum.

The Meaning of Silence

Some artists who are on the margin of mainstream movements tend to get overlooked because they are somewhere in the penumbra of the action.

This Is a Collection of Information

George Waterman’s collection of 20th-century art documentation, currently based for the most part in Manhattan, consists of approximately 40,000 books and catalogues—growing at an estimated rate of 4,000 to 5,000 items a year—as well as numerous cartons tightly packed with gallery and museum invitations, cards, and ephemera.

Railing Opinion: Curb Your Dogma

Just when I thought I’d figured out how to unravel the pretzel logic of Damien Hirst’s latest exhibition (he hires people to make lousy paintings, which means they’re actually really good paintings masquerading as lousy paintings, and the worse people think they are the better and more valuable they become?), I come across David Levi Strauss’s piece “Considering the Alternatives: Are ‘Artists’ Really Necessary?” in the April issue of the Brooklyn Rail.

In Conversation

Jeremy Gilbert-Rolfe with Joan Waltemath

Jeremy Gilbert-Rolfe: I was born in the south of England and went to art school and then to London University Institute of Education for a year before coming to America, in 1968, first to study at Florida State and then to New York, where I first showed a painting in a group show at O.K. Harris in 1971.

Excerpt: Burning and Shining

This project started as a way to document a pandemic. I wanted to narrow down the vastness of AIDS in Africa to one digestible chunk: a neighborhood. Though I have friends and loved ones there now, I was (am) an outsider, so I asked the people I was photographing to help me see what I was looking at.


The Brooklyn Rail

MAY 2005

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