Lmst

robinhaettichrobinhaettich@mastodon.world

2025-05-13

#Democracy
#NewYorkCity
#Manhattan
#MusuemOfModernArt
#MOMA
@MOMA
#JasperJohns
#Flag
#BriceDailyPhoto

Cette oeuvre de Jasper Johns représentait-elle autre chose en 1958 que l'impérialisme satisfait? Sans doute... En 1990, David Hammons réplique avec "African American Flag". #artcontemporain #fondationlouisvuitton #jasperjohns #davidhammons #popart

hal foster: “fail better. reckoning with artists and critics”

Sandro Ricaldone

HAL FOSTER
Fail Better
Reckoning with Artists and Critics
The MIT Press, 2025
(forthcoming)

“Serious art anticipates the future as much as it reflects the present,” Hal Foster remarked in a 2015 interview. “By the same token serious art history is driven by the present as much as it is informed by the past.” In Fail Better, Foster, an art critic and historian whose influential work spans disciplines and decades, brings this peripatetic perspective to contemporary art, art criticism, art history, and his own work over the past 50 years.

In these 40 texts, Foster reviews artists from Richard Hamilton and Jasper Johns to Gerhard Richter and Ed Ruscha; considers contemporaries from Louise Lawler and Cindy Sherman to Jeremy Deller and Adam Pendleton; and traces the development of criticism since the early 1960s, with essays on such influential figures as Susan Sontag and Rosalind Krauss and institutions like Artforum magazine and the Whitney Museum Independent Study Program.

Taking his title from Beckett—“try again, fail again, fail better”—Foster notes that, etymologically, an essay is always an attempt, more or less failed. Critics fail artworks, because there can never be a definitive reading; art fails its historical moment, because it cannot resolve the contradictions that prompt it. But in these failures Foster finds historical consciousness, and with it the promise of future work, future illumination. In his “reckonings” he turns his own long history of criticism to account, and succeeds in conveying shifting concepts of art and criticism, the work of key artists and critics, and the relationships between criticism, theory, history, and politics over the last six decades.

#AdamPendleton #art #arte #ArtforumMagazine #artists #CindySherman #criticism #critics #EdRuscha #GerhardRichter #HalFoster #JasperJohns #JeremyDeller #LouiseLawler #MITPress #RichardHamilton #RosalindKrauss #SusanSontag #WhitneyMuseum #WhitneyMuseumIndependentStudyProgram

"15" #promvent24
Für die Aufführung des Stückes "Variation II", komponiert von John Cage als Geburtstagsgeschenk für David Tudor, malte Jasper Johns "15’ Entr’acte (15 Minuten Pause)". Es wurde am 20. Juni 1961 im Theater der Amerikanischen Botschaft in Paris während der Pause auf die Bühne gebracht.

#zahlenausallerwelt #kreta #agiosnikolaos #hafen
#zahlenausdembildarchiv #jasperjohns #15Entracte #15minutenpause #johncage #davidtudor

Читал биографию Джаспера Джонса, про «бизона, закутанного в одеяло» и всякое такое, — очень скучно. #JasperJohns #artstars #books

How a photo in #NationalGeographic inspired painter and sculptor #JasperJohns in 1973. https://greg.org/archive/2024/05/31/el-arbol-de-barbero.html

A clipping from a 1973 issue of National Geographic magazine featuring a photo of a man wearing well-worn grayish brown coveralls and sunglasses painting a tree white with distinctive red lines in a diagonal pattern.

The caption reads: “Indulging the national craze for color, a barber recruits a tree for his canvas outside his shop on fashionable Genova Street. The Mexicans' passion for bright hues runs riot in their capital, endowing the city with a special flavor.”

Useless quote for 19 Mar:

"… you draw a straight line and it's crooked and you draw another straight line on top of it and it's crooked a different way and then you draw another one and eventually you have a very rich thing on your hands which is not a straight line."

~ Jasper Johns, 1963

#UselessQuote #JasperJohns

#Locke is the watchman, #Bentham is the spy. #JasperJohns

Jasper Johns: Arrive/Depart, 1963-64. Oil on canvas. Pinakothek der Moderne, Munich. © VG Bild-Kunst, Bonn 2016. More informations: Dreher, Thomas: Ästhetik des [Nicht-]Beweises, chapter Memory: Spuren. Internet: https://dreher.netzliteratur.net/8_KonzeptuelleAspekte_Aesthetik.html #jasperjohns #thomasdreher #popart #popartists #popartist #popartwork #popartworks #popartpainting #popartpaintings #pinakothekdermoderne #pinakothekdermodernemünchen #pinakothekmodern #pinakothekmunich

Jasper Johns: Skin with O'Hara Poem, 1963-65. Lithograph on paper. Walker Art Center, Minneapolis. © 2017 Jasper Johns / Licensed by VAGA, New York. More informations: Dreher, Thomas: Ästhetik des [Nicht-]Beweises, chapter Memory: Spuren. Internet: https://dreher.netzliteratur.net/8_KonzeptuelleAspekte_Aesthetik.html #jasperjohns #frankohara #frankoharapoetry #frankoharapoems #thomasdreher #popart #sixtiesart #sixtiesartwork #lithograph #lithography #lithographyprint #lithographyprints #sixtiesartist #sixtiesartists #lyrics #sixtieslyrics

Jasper JOHNS: ln Memory of My Feelings - Frank O'Hara, 1961. Oil on canvas and objects. More informations: Dreher, Thomas: Traces: whatdoyoumeanandhowdoyoumeanit. Frank O'Hara - the New York School. In: Artefactum Nr.43/April-May 1992, p.16f. PDF: https://dreher.netzliteratur.net/1_OHara.pdf #jasperjohns #thomasdreher #frankohara #popart #popartist #popartists #popartwork #popartworks #artandliterature #artandwriting