The cover of the May 1972 issue of Arts Magazine features only the name, “Walter de Maria,” in sm... more The cover of the May 1972 issue of Arts Magazine features only the name, “Walter de Maria,” in small, black, sans-serif capital letters. The notation highlights the long-standing historical value of the artist's name as a site for authenticating skill, value, and authorship, just as the expanse of white on the cover reflects long-standing sites for art—both the wall and the page. The starkness of the layout also reminds us of what we might expect to see that is not there—color, representation, documentation, the face of the artist, or his work—those images we still instinctively look for as, and in relation to, art when we pick up a magazine. The cover features both the artist, and by association, his art, in plain view, while presenting neither. In doing so, it stakes out the unusual territory that De Maria's published work occupied in this period. In the 1970s, De Maria produced a series of photographic essays that neither represented his other practices, nor reflected contemporary expectations for how artists might publish themselves; thus, while in plain sight, they remained invisible. As a group, these essays suggest a distinct interpretation of the site of the publication and an astute understanding of the growing influence of media at this time.
"Michelle Stuart: Drawn from Nature," exhibition curated by Anna Lovatt at the ... more "Michelle Stuart: Drawn from Nature," exhibition curated by Anna Lovatt at the Djanogly Art Gallery, University of Nottingham (February 16-April 14, 2013) traveled to the Parrish Art Museum, New York (June 21-October 22, 2013) and the Santa Barbara Museum of Art, California (January 26-May 4, 2014)
The cover of the May 1972 issue of Arts Magazine features only the name, “Walter de Maria,” in sm... more The cover of the May 1972 issue of Arts Magazine features only the name, “Walter de Maria,” in small, black, sans-serif capital letters. The notation highlights the long-standing historical value of the artist's name as a site for authenticating skill, value, and authorship, just as the expanse of white on the cover reflects long-standing sites for art—both the wall and the page. The starkness of the layout also reminds us of what we might expect to see that is not there—color, representation, documentation, the face of the artist, or his work—those images we still instinctively look for as, and in relation to, art when we pick up a magazine. The cover features both the artist, and by association, his art, in plain view, while presenting neither. In doing so, it stakes out the unusual territory that De Maria's published work occupied in this period. In the 1970s, De Maria produced a series of photographic essays that neither represented his other practices, nor reflected contemporary expectations for how artists might publish themselves; thus, while in plain sight, they remained invisible. As a group, these essays suggest a distinct interpretation of the site of the publication and an astute understanding of the growing influence of media at this time.
"Michelle Stuart: Drawn from Nature," exhibition curated by Anna Lovatt at the ... more "Michelle Stuart: Drawn from Nature," exhibition curated by Anna Lovatt at the Djanogly Art Gallery, University of Nottingham (February 16-April 14, 2013) traveled to the Parrish Art Museum, New York (June 21-October 22, 2013) and the Santa Barbara Museum of Art, California (January 26-May 4, 2014)
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