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One of Farber's best-known essays is "White Elephant Art vs. Termite Art", [16] which originally appeared in Film Culture, number 27 (Winter 1962–63). [11] In it, he writes on the virtues [ 17 ] of "termite art" and the excesses of "white elephant art" and champions the B film and under-appreciated auteurs , which he felt were able, termite ...
DEATH OF AN ARTIST. A podcast in conjunction with Pushkin Industries and Somethin' else and Sony evaluating the significance of women and non-white persons in modern art through the life and tragic death of artist Ana Mendieta. One Day at a Time: Manny Farber and Termite Art, Molesworth, Helen. Prestel, 2018. [37]
Churchman's work has been the subject of institutional exhibitions at Kölnischer Kunstverein (2017) and Boston University Art Gallery, and was also included in the important group exhibitions One day at a Time: Manny Farber and Termite Art at Museum of Contemporary Art, Los Angeles (2018–19); Trigger: Gender as a Tool and a Weapon at the New ...
A truly savage review by Manny Farber in ArtForum said, “The most literate sound (Hoffman) makes is a short pup’s whimper which is over-played in the same way as his panicky rabbit’s ...
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In the Street. (film) In the Street is a 16-minute documentary film released in 1948 and again in 1952. [1] The black and white, silent film was shot in the mid-1940s in the Spanish Harlem section of New York City. Helen Levitt, Janice Loeb, and James Agee were the cinematographers; they used small, hidden 16 mm film cameras to record street ...
This is a list by date of birth of historically recognized American fine artists known for the creation of artworks that are primarily visual in nature, including traditional media such as painting, sculpture, photography, and printmaking, as well as more recent genres, including installation art, performance art, body art, conceptual art, digital art and video art.
Manny Farber, writing in the January 1970 issue of Artforum, commented on the work's sculptural effects: "Basically it's a perpetual motion film that ingeniously builds a sculptural effect by insisting on time-motion to the point where the camera's swinging arcs and white wall field assume the hardness, the dimensions of a concrete beam."
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