The Artists' Artists: To Take Stock of the Past Year, Artforum Contacted an International Group of Artists to Find out Which Exhibitions and Events Were, in Their Eyes, the Very Best of 2010

Artforum International, December 2010 | Go to article overview

The Artists' Artists: To Take Stock of the Past Year, Artforum Contacted an International Group of Artists to Find out Which Exhibitions and Events Were, in Their Eyes, the Very Best of 2010


RICHARD ARTSCHWAGER

"Gerhard Richter: Lines Which Do Not Exist" (Drawing Center, New York) After seeing many of Richter's paintings on a recent trip to Saint Louis and San Francisco, I enjoyed his show at the Drawing Center this fall all the more. We have crossed paths several times over the years, having gotten started around the same time and having each given a lot of focus to drawing, black-and-white for the most part. Gerhard, however, may be the more venturesome; he has never tied himself to depiction--anything but!

[ILLUSTRATION OMITTED]

KEITH EDMIER

"The Fantastical Worlds of Ray Harryhausen" (Academy of Motion Picture Arts and Sciences, Los Angeles) I started out drawing as a child, like almost every artist, which led to making sculptures, which led to wanting to make sculptures move, which led to making films. The first "motion picture" that I remember seeing in a theater is Ray Harryhausen's short The Story of Hansel and Gretel (1951), screened before the feature presentation of Batman: The Movie (1966). The recent Harryhausen exhibition at the Academy of Motion Picture Arts and Sciences presented a rare opportunity to see the original stop-motion-animation models, drawings, storyboards, and photographs from the filmmaker's most significant works. It is remarkable that these productions were largely executed by hand by Harryhausen himself--almost unthinkable in a post--Avatar world.

[ILLUSTRATION OMITTED]

VERA LUTTER

Trisha Brown Dance Company at Dia:Beacon (New York) Exploring the dynamics between gravity, space, and rhythm, Trisha Brown has choreographed relationships of interdependence between her dancers, their architectural environment, and the performance itself for more than forty years. Often suspended in midair, woven into the web of Floor of the Forest, 1970, or tied to the columns of Opal Loop/Cloud Installation #72503, 1980 (both Included in TBDC's recent series of performances at Dia:Beacon), her dancers enact a delicate balance between the humorous and the awkward. Brown has said that she is "fascinated by qualities of gesture that exist on the edge of memory, made permanent through the act of repetition" and thereby kept "forever young." These works indeed remain young and relevant today, decades after their creation.

[ILLUSTRATION OMITTED]

DIKE BLAIR

John McLaughlin. "Hard Edge Classicist" (Greenberg Van Doren Gallery, New York) McLaughlin's paintings don't require much explanation; you just stand in front of one and let it do its work. Like contemplating a Zen garden, calm, focus, and feelings/thoughts of things big and small come quickly. The forms' positive and negative spaces don't so much flip-flop as slowly phase in and out, bounded by surfaces and edges that are puritanical but just flawed enough to feel modest and human; the artist's palette here is subdued but luscious. While there's ample McLaughlin DNA in the contemporary art world, I can't readily think of any other paintings that achieve the beauty, economy, and soul that I experienced in front of these thirteen works.

[ILLUSTRATION OMITTED]

CHARLES ATLAS

Markus Selg, "A New Beginning" (Vilma Gold, London) When I walked through the jute curtain into "A New Beginning," Markus Selg's memorable show at Vilma Gold this spring, I encountered a dark space with a sparse installation of discreet works of art, some theatrically spotlit and some containing their own light sources.

The installation included wooden sculptures, digital prints, and miniature stage sets, along with video projections, fragments of musical sound, handmade furniture (made in collaboration with Astrid Sourkova), and a seaweed carpet. With these elements, Selg created an all-encompassing mise-en-scene, an experiential world that evoked a postapocalyptic vision of starting over alone, with a simplicity and directness of approach. The artist's commitment was palpable. …

The rest of this article is only available to active members of Questia

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

The Artists' Artists: To Take Stock of the Past Year, Artforum Contacted an International Group of Artists to Find out Which Exhibitions and Events Were, in Their Eyes, the Very Best of 2010
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Author Advanced search

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.