“I now believe that there is an absolute incompatibility between art and private property or between art and state property... Property must be destroyed before imagination can develop any further... I find the function of art criticism...serves to uphold the art market...
John Baldessari, who died last month, was called the godfather of conceptual art. He played a pivotal role in the development of western art in the second half of the 20th century, both in its move away from painting and sculpture and in its relocation from New York to California, and in particular Los Angeles.
After the Second World War the centre of the art world moved from Paris to New York. Artistically it was dominated by abstract art, and in particular abstract expressionism, with the work of such artists as Jackson Pollock, Mark Rothko, Barnett Newman and others.
This is the most comprehensive exhibition to date of what I think is one of the most exciting and thought provoking artists around. Like all great art there is much more to it than just the initial response to how it looks; it has layer upon layer of meaning as well as layer upon layer of beads and other reused stuff.
Ninety years ago German theatre-maker Erwin Piscator published his book, The Political Theatre. He wrote that he intended it to provide “a definitive explanation and elucidation of the basic facts of epic, ie political theatre”, which at that time “was still meeting with widespread rejection and misapprehension.”
The unexpected death has been announced of Lindsay Kemp, I was going to say the dancer, but he was far, far more than this. He had a profound effect on the art and music scene of the 1970s and beyond and he was at the centre of an LGBT+ cultural revolution in London. As he once said, “We wanted to change the world, and we did for at least ten minutes.”
The death has been announced of two of the bastions of the pop art movement, the artist Robert Indiana and the magazine Interview. Together they signal the final collapse of an art movement born from the detritus of commercial capitalism and, in some of its practitioners, a critique of capitalism using capital’s own techniques and tools. Its demise can be summed up in Robert Indiana’s own life story and how his art has been rewritten to suit the 21st century art market.
He was born Robert Clark in New Castle, Indiana, on
13 September 1928. After three years in the US
Another Kind of Life is a large and ambitious exhibition. There are works by 20 photographers, covering a period from the 1960s to the present.
The people depicted cover a huge range of very different experiences, from the desperate homeless to neo-Nazis in the American wilderness, and many trans people across different societies surviving in the teeth of oppression.
Gay activists played an important role in anti-fascist resistance. Noel Halifax tells the little-known story of the artist and writer turned freedom fighter Willem Arondeus, who was executed by the Nazis in the Netherlands 75 years ago.
Willem Arondeus was born in 1895, the son of theatre designers, and grew up in Amsterdam one of six children. At an early age he showed an interest in art and writing, which his parents encouraged, and in homosexuality, which his parents did not.
At the age of 17 he came out fully and refused to hide his sexuality. At the time homosexuality was legal in the Netherlands; nonetheless when he was 18 his parents kicked him out to fend for himself. He survived, but in impoverished conditions, continuing his interest in painting and writing.
First published in 1926 and written a few years before, this small book is a fascinating read written at a watershed of Soviet history both in the debate over art and the revolution, and more generally over the direction of the revolution. It reflects and was part of a turn away from the experimental art after 1917 to what became social realism of the 1930s and beyond, a move that mirrored the counter revolution.