Writings by David Carrier

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Katya Mezhibovskaya: Access Excess


Mezhibovskaya’s art is the most devastating commentary on Art Since 1900 and the most original supplement to Duchamp’s ready mades and Danto’s commentary on Brillo Box that I have had the pleasure to discover.


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Dara Friedman: Musical


Like the Impressionists, Friedman transfigures the contemporary world. What more could we ask of any artist?


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Art Power by Boris Groys


Using few footnotes, this collection of Boris Groys’s essays offers a compulsively original account of contemporary art and the political systems that support it. Educated in the former USSR, now a professor in Germany who also teaches at NYU, he brings to contemporary art theory a highly original perspective. Groys discusses fundamental topics: the nature…


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Michael Podro (1931-2008)


Art historians usually feel no need to look back at the history of art history. Michael Podro took a different view. He believed that a way to understand visual art was to look critically at the history of art history. His first book The Manifold in Perception: Theories of Art from Kant to Hildebrand (1972) provides…


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Ruth Root


For an abstract painter of her generation, the older distinctions between figurative and abstract art, or between politically critical art and the consumer products of mass culture cease to have much importance. Perhaps that is why her essentially cheerful art shows no signs of th angst which inspired so many of the pioneering Abstract Expressionists.


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Successive Approximation: Tauba Auerbach, Daniel Buren, Sol Lewitt, Mike Quinn and Robin Rhode


Too often group exhibitions, especially those that mix together young artists and famous figures, fail to reveal elective affinities. This tight small show, however, revealed that these nine very different looking works of art all shared a genuine concern with successive approximation. And in doing that, it also displayed the totally unexpected relationship of these contemporary works of art with the traditions of old master painting.


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Painting Then For Now; Fragments of Tiepolo at the Ca’ Dolfin


When these three Tiepolos at the Met were removed from the main salon of Ca’Dolfin, the intended site-specific lighting effects were lost. But Alpers, Hyde and Kulok recreate the way that, to quote Alpers and Baxandall, “the world, on Tiepolo’s account, presents a conundrum and his painting makes us conscious of having to work to make things out.”


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The linear and the painterly: How art today uses its traditions


Saul Steinberg at the Morgan Library, Merlin James at the Studio School


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High Times, Hard Times: New York Painting, 1967-1975


an exhibition curated by Katy Siegel with David Reed


James Lee Byars, Untitled (Performable Scroll), ca. 1967. Paper, wood. Courtesy Michael Werner Gallery, New York and London.

James Lee Byars


Byars’s exhibition at MoMA PS1 continues through September 7.