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Figure 25 – uploaded by Douglas Crimp

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many of them is enormous.

Figure 25 many of them is enormous.

Related Figures (32)

Douglas Crimp. Photo: Mathias Danbolt.
Douglas Crimp. Photo: Mathias Danbolt.
Yvonne is a good friend, and so I talked with her about how she went about
Yvonne is a good friend, and so I talked with her about how she went about
Daniel Buren’s Peinture-Sculpture before it was removed from the “Guggenheim International Exhibition” at the Solomon R. Guggenheim Museum in 1971. Photo: Robert E. Mates and Paul Katz. OSRGF, N.Y.
Daniel Buren’s Peinture-Sculpture before it was removed from the “Guggenheim International Exhibition” at the Solomon R. Guggenheim Museum in 1971. Photo: Robert E. Mates and Paul Katz. OSRGF, N.Y.
A 1953 gown and a 1956 stole by Charles James in the Brooklyn Museum collection, Photo: Brooklyn Museum,
A 1953 gown and a 1956 stole by Charles James in the Brooklyn Museum collection, Photo: Brooklyn Museum,
in New York and America but were in fact absolutely central to it.
in New York and America but were in fact absolutely central to it.
Max’s Kansas City at 213 Park Avenue South, between 17th and 18th Street on Manhattan ir New York, Photo: www.maxskansascity.com
Max’s Kansas City at 213 Park Avenue South, between 17th and 18th Street on Manhattan ir New York, Photo: www.maxskansascity.com
the core of the cultural work that October did.
the core of the cultural work that October did.
Still from Pier Paolo Pasolini’s Safé, 1975,
Still from Pier Paolo Pasolini’s Safé, 1975,
Stills from Todd Haynes’ controversial film Superstar: The Karen Carpenter Story, 1987, Haynes used Barbie dolls to tell the story of the famous singer and her early death by anorexia-related issues, front and back room at Max’s.
Stills from Todd Haynes’ controversial film Superstar: The Karen Carpenter Story, 1987, Haynes used Barbie dolls to tell the story of the famous singer and her early death by anorexia-related issues, front and back room at Max’s.
October it took five straight white men to replace me. (/aughter) The cover of Yetober No. 1 (Spring 1976).
October it took five straight white men to replace me. (/aughter) The cover of Yetober No. 1 (Spring 1976).
husband, so he came after I left. But basically, I always claim that when I left Center, where Rosalind Krauss was teaching. I had met Rosalind shortly after DC: Yes. When I went back to graduate school I went to the CUNY Graduate
husband, so he came after I left. But basically, I always claim that when I left Center, where Rosalind Krauss was teaching. I had met Rosalind shortly after DC: Yes. When I went back to graduate school I went to the CUNY Graduate
Stills from Testing the Limits, 1987, could begin analyzing representations of AIDS - artistic representations, but became a big issue, twice as big as most October issues.
Stills from Testing the Limits, 1987, could begin analyzing representations of AIDS - artistic representations, but became a big issue, twice as big as most October issues.
Cover of the book version of Detober No. 43 (Winter 1987), The photo is of the installation Let The Record Show... made by a group of ACT UP members in 198? for a window at The New Museum, after an invitation from Bill Olander,
Cover of the book version of Detober No. 43 (Winter 1987), The photo is of the installation Let The Record Show... made by a group of ACT UP members in 198? for a window at The New Museum, after an invitation from Bill Olander,
http://trikster.net/2/crimp/singlepage.html
http://trikster.net/2/crimp/singlepage.html
Poster by Gran Fury, 1988,
Poster by Gran Fury, 1988,
postmodernism. But the commitments of Krauss and Michelson and the DC: I wrote that eseay initially as a response to the October issue on visual people now connected with the journal have always been much more high culture, as a defense of cultural studies. The essay went through a lot of modernist in their orientation. But I wouldn’t have been able to articulate that different versions before I published it, but by the time I published it I had. at that time. I think the fall-out felt more like it was about issues of sexuality began thinking about a project on Warhol, Shortly thereafter I wrote an essay and cultural studies. My interests are not in high culture specifically, but on Blow Job (1964) - the first of my essays on Warhol’s films. In “Getting the culture in a more hybrid sense. Warhol We Deserve”. I was considering a proiect more about New York queer
postmodernism. But the commitments of Krauss and Michelson and the DC: I wrote that eseay initially as a response to the October issue on visual people now connected with the journal have always been much more high culture, as a defense of cultural studies. The essay went through a lot of modernist in their orientation. But I wouldn’t have been able to articulate that different versions before I published it, but by the time I published it I had. at that time. I think the fall-out felt more like it was about issues of sexuality began thinking about a project on Warhol, Shortly thereafter I wrote an essay and cultural studies. My interests are not in high culture specifically, but on Blow Job (1964) - the first of my essays on Warhol’s films. In “Getting the culture in a more hybrid sense. Warhol We Deserve”. I was considering a proiect more about New York queer
MBE THEY BOHW WDE SGT RE WEY RABS AF fens deebasAclevantheugh [12] Bad Object-Choices (eds.), How Do f Look? Ques Fila and Video, (Seattle: Bay Press, 1991), The book includes papers by Cindy Patton, Stuart Marshall, Judith Mayne, Richard Fung, Kobena Mercer, and Teresa de Lauretis from the conference “How Dol Look? Queer Film and Video” at Anthology Film Archives in New York City, October 21-22, 1989,
MBE THEY BOHW WDE SGT RE WEY RABS AF fens deebasAclevantheugh [12] Bad Object-Choices (eds.), How Do f Look? Ques Fila and Video, (Seattle: Bay Press, 1991), The book includes papers by Cindy Patton, Stuart Marshall, Judith Mayne, Richard Fung, Kobena Mercer, and Teresa de Lauretis from the conference “How Dol Look? Queer Film and Video” at Anthology Film Archives in New York City, October 21-22, 1989,
[14] Callie Angell (ed.), Andy Miarhol Screen Tests: The Filras of Andy Wlarhol Latelogue Raisonné, Yolume Une, (New York: Harry N. Abrams, Inc. & Whitney Museum of American Art, 2006), Program at the University of Rochester, and I think that then things got more MD: Warhol’s films have received a lot of attention lately, but_they’ve been and more polarized. If you look at October's issue on “Visual Culture” suppressed for quite a while. Why is that? ; Co (Summer 1996), there’s a real retrenchment with regard to disciplinarity,
[14] Callie Angell (ed.), Andy Miarhol Screen Tests: The Filras of Andy Wlarhol Latelogue Raisonné, Yolume Une, (New York: Harry N. Abrams, Inc. & Whitney Museum of American Art, 2006), Program at the University of Rochester, and I think that then things got more MD: Warhol’s films have received a lot of attention lately, but_they’ve been and more polarized. If you look at October's issue on “Visual Culture” suppressed for quite a while. Why is that? ; Co (Summer 1996), there’s a real retrenchment with regard to disciplinarity,
Warhol had been shot, so he was not so easy to get access to. Warhol was Mario Montez, Photo: Bill Name, Soltero, who made a legendary film called Lupe (1967) with Mario Montez.
Warhol had been shot, so he was not so easy to get access to. Warhol was Mario Montez, Photo: Bill Name, Soltero, who made a legendary film called Lupe (1967) with Mario Montez.
fact that he gets the credit for ACT UP more than any other person is simply Poster for the 20th Anniversary Die-In of ACT UP in San Francisco. Illustration: Gay Shame. extremely shy, so I wouldn’t have been able to say anything. (/aughter)
fact that he gets the credit for ACT UP more than any other person is simply Poster for the 20th Anniversary Die-In of ACT UP in San Francisco. Illustration: Gay Shame. extremely shy, so I wouldn’t have been able to say anything. (/aughter)
Holly Woodlawn, Photo: Confetta,
Holly Woodlawn, Photo: Confetta,
The utility of melancholia
The utility of melancholia
before with On the Museum’s Ruins, which was all the work that I had done in suppose, was to tie up everything I’d done and call it quits. I had done that
before with On the Museum’s Ruins, which was all the work that I had done in suppose, was to tie up everything I’d done and call it quits. I had done that
Cover of Douglas Crimp’s Melancholia and Noralism with a photo of Felix Gonzalez-Torres’ “Untitled” (Couple), 1993.
Cover of Douglas Crimp’s Melancholia and Noralism with a photo of Felix Gonzalez-Torres’ “Untitled” (Couple), 1993.
it’s something I try to turn into something productive. I have friends who are [19] Douglas Crimp and Gregg Bordowitz, “A Noun and a Verb”, in Ovive - The AIOS Crisis is Stitt Beginning, (Chicago: WhiteWalls, 2002), pp. 29-38.
it’s something I try to turn into something productive. I have friends who are [19] Douglas Crimp and Gregg Bordowitz, “A Noun and a Verb”, in Ovive - The AIOS Crisis is Stitt Beginning, (Chicago: WhiteWalls, 2002), pp. 29-38.
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Art HistoryQueer Theory
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