This is the second part of a three-part series featuring Elizabeth Murray, that traces Katherine Keltner’s experience in the art world through her work for key artists and an art historian and critic, all of whom have had significant impacts both on contemporary art in New York and beyond.
This is the first part of a three-part series that traces my experience in the art world through my work for key artists and an art historian and critic, all of whom have had significant impacts both on contemporary art in New York and beyond, and on my own development as an artist.
I had high hopes for “Analogue”, Zoe Leonard’s 10-year plus project now on view at The Museum of Modern Art. All artists of my generation, including myself, are affected by and respond differently to this overwhelming datascape we have at our disposal. Leonard’s approach is archival though not nostalgic and without a directive moral.
Jacqueline Humphries’ new large-scale paintings, recently on view at Greene Naftali’s new ground floor space, are an exploration of what we might call screen noise abstracted into paintings that I don’t want to stop looking at.