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David Diao
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David Diao
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David Diao
Who puts smiley faces over Warhol-esque silkscreens of Bruce Lee in full howling attack? Who superimposes loungey, gentlemanly, portraits of himself over Jackson Pollock's canvases, as if to take blasª responsibility for their drips? And who makes a tryptich in which Lee and Pollock face off? While we're at it, who puts a black Saint George's cross on a red flag? David Diao, whose artistic life "began thirty years ago very much under the influence of Greenbergian formalism." Diao has since wrestled and mastered twin artistic and racial dragons many times over. Of his "MoMa" series he says, ..".here I stand, a real slanted-eye Asian, desiring however ambivalently to be in the MoMA... in any case I don't mind poking fun at myself at the same time. I am there, smack in the center of the muck."
David Diao
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David Diao
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David Diao
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David Diao: On Barnett Newman
David Diao's painterly tributes to Barnett Newman explore the contradictory legacies of Modernism David Diao (born 1943) has long turned to Barnett Newman's work as a spur and a foil to his own. This richly illustrated catalog surveys his sustained fascination with the Abstract Expressionist master. Diao worked as an art handler in his 20s and installed Newman's Stations of the Cross at the Guggenheim in 1966--a signal event that he credits with setting his own course as a painter. On Barnett Newman, 1991-2023 documents a cycle of paintings that tabulate the elder artist's career through lushly painted charts, lists and diagrams that filter geometric abstraction through the lens of tribute. An original essay by Jeffrey Weiss details the complex blend of reverence and wry humor for which Diao has become known, citing this series as emblematic of his "foundational critical ambivalence regarding modernism--its role as a source of pleasure and skepticism in equal measure."
Wet
Taking aim at the mostly male bastion of art theory and criticism, Mira Schor brings a maverick perspective and provocative voice to the issues of contemporary painting, gender representation, and feminist art. Writing from her dual perspective of a practicing painter and art critic, Schor's writing has been widely read over the past fifteen years in Artforum, Art Journal, Heresies, and M/E/A/N/I/N/G, a journal she coedited. Collected here, these essays challenge established hierarchies of the art world of the 1980s and 1990s and document the intellectual and artistic development that have marked Schor's own progress as a critic. Bridging the gap between art practice, artwork, and critical t...
Transcultural Turbulences
Today, hardly anything moves as fast across the globe as images and media. This fact opens new avenues to explore social and cultural change, but also poses new theoretical challenges of how to grasp and better understand these changes and flows. Moreover, such movements across geophysical and cultural borders have a historical depth that enables us to explore globalisation and localisation in new ways. Transculturality is still a relatively new field of research in the Humanities through which we sharpen our competence and ‘literacy’ to come to terms with the complexity of globalised cultures. This volume ventures into new domains of research on the transculturality of images and addresses the need to develop new or modify established often ethno- and Eurocentric interpretations of what happens when images travel. It does so by bringing together cutting-edge research from fields such as art history, cultural anthropology, colonial history, Islamic studies, religious studies and literary criticism.
For America
Featuring paintings by American icons like Winslow Homer and Thomas Eakins, this book illustrates the ways American artists have viewed themselves, their peers, and their painted worlds over 200 years.
