The Daily

Posts Tagged ‘collage’

Circumstantial Pleasures

October 6, 2016 | by

Since the late seventies, Lewis Klahr has garnered praise for his collage films, whose use of midcentury imagery inspires what the historian Tom Gunning has called “an interplay of grasping and losing, remembering and forgetting.” A new exhibition at Zurich’s Grieder Contemporary, in association with London’s Anthony Reynolds Gallery, finds Klahr pursuing collage outside of film for the first time; in addition to a new movie, he’s debuting a set of standalone works.

When I first started doing this, in my late twenties, I was really trying to bring my childhood back,” he told Blouin ArtInfo in 2013. “I wanted the world to look like that again. As I aged, and as I grew as an artist, that became not the concern anymore in the same way. Then it was more about memory. Now it’s just a language; it’s a place I like hanging out. It’s this idea of looking at the world with the openness and wonder of a child, so you’re seeing things fresh.”

Lewis Klahr, At Night, 2015, collage on cardboard, 20 1/2" x 8 7/8".

 Read More »

I’ve Been Sick for Over a Year

August 22, 2016 | by

Henchman of Chance

June 8, 2016 | by

Daniel Spoerri has been making “trap pictures” since the late fifties. His procedure is simple: he goes to a flea market or a dump, riffles through heaps of trash or near-trash, recovers whatever discarded objects strike his fancy, and hangs them on the wall. Describing himself as “a henchman of chance,” Spoerri is especially drawn to the detritus that remains unsold at the end of a flea market. His latest set of assemblages, “What Remains,” is on display at Galerie Krinzinger in Vienna through July 23. Spoerri’s portfolio with Emmett Williams, “An Anecdoted Topography of Chance,” appeared in our Winter 1966 issue.

Daniel Spoerri, #23 Flohmarkt Wien, April 2016, 2016, assemblage, 47" x 34" x 17".

 Read More »

Invisible Adventure

December 9, 2015 | by

Watching a film about Claude Cahun.


When Alan Pierson conducts, he stands with his feet together, sometimes springing onto his toes and then plunging forward at the waist. Other times, he takes a step forward, only to return immediately to his original spot. He is tall and thin, and his reedy build exaggerates his movements: he could be one of Robert Longo’s flailing suited men, but he is poised, like an exclamation mark.

He is conducting Alarm Will Sound onstage at Merkin Concert Hall as part of the Sonic–Sounds of a New Century Festival. He is also onscreen at the back of the stage, in a short film in which he conducts the same composition but without orchestra or audience. The live Alan Pierson conducts with his back to the audience in the hall, but onscreen he frequently appears frontally and in close-up, and his expression—of delectation and wonder—is fed by his body’s exuberant movements. Read More »

A Photographic Memory: In the Studio with Lorna Simpson

October 15, 2015 | by

Lorna Simpson. Photo: Menelik Puryear

After we summited the ridges high above Aspen in late July of this year, the artist Lorna Simpson and I finally had the occasion to speak at length. Simpson, in town to be honored by the Aspen Art Museum with the institution’s Aspen Award for Art, had taken advantage of the good weather for a day hike. Catching our breath, we talked about her life as an artist in New York during the nineties and the Brooklyn Heights high school where her daughter and I share a common history. Simpson, a Brooklyn native, still lives in the borough, where she also keeps a studio. We caught up earlier this month to continue the conversation. Here she talks about her artistic process, creative inspiration, and the joys of working without a deadline. 

Read More »

The Lonely Art

October 5, 2015 | by

Robert Seydel’s visionary, genre-defying art and writing.

“The King” by Robert Seydel, n.d. © the Estate of Robert Seydel

Untitled by Robert Seydel, n.d. © the Estate of Robert Seydel

How are we to regard the artist who writes or the writer who makes art? There’s a venerable lineage of creative figures working both sides of the street: think of the poems of Marsden Hartley, the photographs of Eudora Welty, the collages of John Ashbery, among others. In almost all such cases, a hierarchy effortlessly falls into place; what’s primary and what’s ancillary are self-evident. Would we be much drawn to look at the watercolors of Elizabeth Bishop if we did not know her first as the poet who wrote “Roosters” and “One Art”? True aesthetic ambidexterity seems vanishingly rare, particularly among top-tier figures: a great artist’s side projects invariably seem secondary and marginal.

The work of the genuinely hybrid artist Robert Seydel (1960–2011) chips away at our biases about one art form always taking precedence over another. Read More »