Tag Archives: Art

Sebald on Architecture and The Ruin

“Such complexes of fortifications, said Austerlitz, concluding his remarks that day in the Antwerp Glove Markets as he rose from the table and slung his rucksack over his shoulder, show us how, unlike birds, for instance, who keep building the… Continue reading

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Benjamin on Proust

“The eternity which Proust opens to view is convoluted time, not boundless time. His true interest is in the passage of time in its most real—that is, space-bound-form, and this passage nowhere holds sway more openly than in remembrance within… Continue reading

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Dillon on The Ruin

“The history of ruins in art records the gradual diminution of the human figure until it is merely a tiny marker of the enormity of the destruction that has been wrought in the scene. In the seventeenth century, the figures… Continue reading

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In Baltz’s Wake: A Thought on the Landscape in Contemporary Photography

I. The jagged and memorable sweep of Lewis Baltz’s early photographic work is bound up with the wave of suburbanisation, consumerism and new economic modes of development. These forces rose to prominence after the Second World War, and gained their… Continue reading

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Picon on Obsolescence and the Ruin

“And everything wears itself out, or almost, in the cityscape of today. Metal oxidizes, plastic yellows and cracks. The idea of functionality goes hand in hand, therefore, with that of obsolescence. Obsolescence is not exactly the same thing as death, the progressive and dignified death that… Continue reading

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Cadava on Photography & History

“We could even say that the lesson of the photograph for history — what it says about the specialization of light, about the electrical flashes of remote spirits — is that every attempt to bring the other to the light of… Continue reading

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Robert Storr on Gerhard Richter’s 18 October 1977

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Warstat on the Damaged Image

“Pictures seem to bear the accidental scars of damage with a dignified indifference. The image seems to be sealed off in a kind of self-enclosure. Similarly, the tradition of crucifixion painting and sculpture seems to need the presence of the… Continue reading

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Rancière on Rupture and Dissensus

“This is, after all, what ‘critique’ means: separation. When Rousseau wrote his Lettre sur les spectacles, this separation was emblema­tized by the apparently innocuous description of an ancient statue, that by Johann Joachim Winckelmann of the Torso of the Belvedere. The… Continue reading

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Lewis on Wall, Photography and Painting

“One of the ways in which photography has been presented as art by critics, curators and artists over the last thirty years is by emphasizing, against most ‘evidence’ to the contrary, how the hand of the artist can be seen… Continue reading

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