Category Archives: Uncategorized

Review: Sol LeWitt, ‘Arcs and Lines’ at Paula Cooper

Pac Pobric Sol LeWitt’s wall drawings have a tendency to be redundant. Once the perimeters of a particular work have been established as a plan for action, the execution of the piece is almost an afterthought, an exercise in scaled

Review: Sol LeWitt, ‘Arcs and Lines’ at Paula Cooper

Pac Pobric Sol LeWitt’s wall drawings have a tendency to be redundant. Once the perimeters of a particular work have been established as a plan for action, the execution of the piece is almost an afterthought, an exercise in scaled

Femininity and Fetish in the Work of Marilyn Minter

Dana Kopel Marilyn Minter’s images—frozen moments of luxury and sensuality—fragment and abstract the female body, offering a critique of the objectifying (even commodifying) effects of the male gaze, which, with their lush, glittering surfaces, they simultaneously implicitly encourage. Three different,

Femininity and Fetish in the Work of Marilyn Minter

Dana Kopel Marilyn Minter’s images—frozen moments of luxury and sensuality—fragment and abstract the female body, offering a critique of the objectifying (even commodifying) effects of the male gaze, which, with their lush, glittering surfaces, they simultaneously implicitly encourage. Three different,

Review: Kate Shepherd, ‘And Debris’ at Galerie LeLong

Pac Pobric For some curious reason, Kate Shepherd’s painting is often seen in “minimalist” terms. The press release for her most recent show at Galerie LeLong, for example, defines her latest pictures as “minimalist designs.” But setting aside the fact

Review: Kate Shepherd, ‘And Debris’ at Galerie LeLong

Pac Pobric For some curious reason, Kate Shepherd’s painting is often seen in “minimalist” terms. The press release for her most recent show at Galerie LeLong, for example, defines her latest pictures as “minimalist designs.” But setting aside the fact

An Interview with Harry Cooper

Earlier this year, Pac Pobric sat down with Harry Cooper, curator of modern and contemporary art at the National Gallery of Art in Washington, D.C., to discuss painting, modernity, and theoretical methodology. Cooper earned his Ph.D. at Harvard University under

An Interview with Harry Cooper

Earlier this year, Pac Pobric sat down with Harry Cooper, curator of modern and contemporary art at the National Gallery of Art in Washington, D.C., to discuss painting, modernity, and theoretical methodology. Cooper earned his Ph.D. at Harvard University under

The Twin Sides of Antimodernism: A Response to Paul Chan’s Progress as Regression

Pac Pobric [1] It is a common and, at this point, hopelessly exhausted “postmodern” (read: antimodern) critique that the period of modernity, as the legacy of the Enlightenment, was a fundamentally conservative set of cultural and political moments; that its

The Twin Sides of Antimodernism: A Response to Paul Chan’s Progress as Regression

Pac Pobric [1] It is a common and, at this point, hopelessly exhausted “postmodern” (read: antimodern) critique that the period of modernity, as the legacy of the Enlightenment, was a fundamentally conservative set of cultural and political moments; that its

Baldessari’s Ambivalence

Pac Pobric John Baldessari may have made a good painter. His earliest works evinced his aesthetic eye. In #2 (1963), a tension between representation and abstraction is realized through a scrutinizing approach to a bird (first a subject in 1962’s

Baldessari’s Ambivalence

Pac Pobric John Baldessari may have made a good painter. His earliest works evinced his aesthetic eye. In #2 (1963), a tension between representation and abstraction is realized through a scrutinizing approach to a bird (first a subject in 1962’s