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Schjeldahl Peter:     more books (121)

Kim Dingle by Essay by Peter Schjeldahl, 1996 New Figuration in America by Gerald. Bowman, Russell. Schjeldahl, Peter. Nordland, 1982 Richard Deacon by Text Richard Deacon; Peter Schjeldahl, 1988 White Country by Peter Schjeldahl, 1968 Six Painters of the Seventies: Abstract Painting in New York by Peter Schjeldahl, 1973-01-01 The New Yorker, Volume LXXXVI, No. 15, June 7, 2010 (Cover) "Five Weeks Later . . .," by John Lanchester, Larry Doyle, et all 2010 Liza Lou by Eleanor Heartney, Lawrence Weschler, et all 2011-03-01

lists with details

81. Re: Elitism/ Circle The Wagons
    to Hamptoned souls. The rest of us can watch; it's an okay deal. peter schjeldahl, Village Voice 5/28/96. Man talk about  
    http://www.plexus.org/chalkboard/@salon/messages/253.html
    
    Extractions: Man talk about boring :-0 I find that Hampton crowd to be so old fashioned and out of date and irrelevant and stupid and tired and clueless that when Peter Schjeldahl writes about them (and he's an old fart as well) it sort of jerks me back to reality. Thanks Rob, I needed that. I almost lost my head. : : <font size="+2" color="#0000FF"> : : <blockquote> : : "Ross Bleckner is New York's high-bourgeois courtier : : of oil on linen, providing timely visual and : : spiritual perfumes to Hamptoned souls. The rest of : : us can watch; it's an okay deal." : : <i>Peter Schjeldahl, Village Voice 5/28/96</i> : : </blockquote> : : </font> : Man talk about boring :-0 I find that Hampton crowd to be so old fashioned and out of date and irrelevant and stupid and tired and clueless that when Peter Schjeldahl writes about them (and he's an old fart as well) it sort of jerks me back to reality. Thanks Rob, I needed that. I almost lost my head. : gh

82. Notes: The Sherman Phenomena
    1987), p. 15. 3. peter schjeldahl, op. cit. (Also in schjeldahl, CindySherman, New York Pantheon Books, 1984), p. 9. 4. Mira Schor  
    http://www.brickhaus.com/amoore/magazine/shermannotes.html
    
    Extractions: (New York, 1987), p. 15. 3. Peter Schjeldahl, op. cit. (Also in Schjeldahl, Cindy Sherman, New York: Pantheon Books, 1984), p. 9. 4. Mira Schor “From Liberation to Lack,” Heresies 6 (#4, 1989), p. 16. 5. Michael Newman, “Mimesis and Abjection in Recent Photowork,” in Andrew Benjamin and Peter Osborne eds., Thinking Art: Beyond Traditional Aesthetics (London: ICA, 1991), p. 116. The term is derived from Mary Ann Doane, The Desire to Desire (Bloomington: Indiana University Press, 1987). 6. Martha Rosler, “Notes on Quotes,” Wedge #2 (Fall 1982), p. 69-70. Although Rosler does not cite specific artists, much of this essay could be read as a critique of Sherman. 7. Craig Owens, “The Discourse of Others: Feminists and Postmodernism,”

83. Steven Criqui
    What It’s All About”, The Los Angeles Times, February 6, 1999, pg. F2. schjeldahl,peter. “Ultraloungerie”, Village Voice, June 23, 1998, pg. 153.  
    http://www.petermillergallery.com/bios/criquibio.html
    
    Extractions: Steven Criqui ONE PERSON EXHIBITIONS "Noirish Days/Unrestful Nights", Lemon Sky Projects and Editions, Los Angeles, CA "Paradise Adjacent", Galleria in Arco, Turin, Italy (catalog). "Steven Criqui: Brief Survey", Donna Beam Gallery, University of Nevada, Las Vegas, NV, Curated by Dave Hickey "Pop Interiority: New Still-Life Paintings", Angles Gallery, Santa Monica, CA "Love of Display", FOODHOUSE, Santa Monica, CA

84. Naropa University - Summer Writing Program 1999
    t for me until I took over from Kenneth at the New School and actually had thesestudents like Michael Brownstein and Bernadette Mayer and peter schjeldahl.  
    http://www.naropa.edu/swp/berkson.html
    
    Extractions: July 3, 1999 LB : There's been a focus this week and the whole 25th anniversary summer on poetic community and great companions, and that aspect of being a writer and being an artist so I wanted to talk around that today. Maybe you can start in 1959 when you went back to New York and enrolled in Kenneth Koch's class and entered that milieu. BB : That was entering a milieu that was already set rather than making one's own. So I sort of see my own life in that respect in two phases at least, and probably more, because the California phase is a further one. I joined Kenneth Koch's class in the spring of '59, and I think I was the only college-age person in that class. The New School in those days was beginning to draw a large student population from the suburbs, mostly women already in their mid-30s or 40s, a continuing education model, as it was. There were no friends to be made ... in that class.

85. W H I T E B O X :: P R O G R A M :: CRITIC AS GRIST
    Hilton Kramer, Rosalind Krauss, Donald Kuspit, Lucy Lippard, Thomas McEvilley,peter Plagens, David Rimanelli, Jerry Saltz, peter schjeldahl, Roberta Smith  
    http://www.whiteboxny.org/prog_list/prog_list08.html
    
    Extractions: Thomas Zummer Curated by Michael Portnoy Each artist has been asked to choose a living art critic and/or his or her work as the subject of a piece to be created for the show. The work will involve painting, drawing, photography, sculpture, installation, video and performance. Though very divergent in concerns, styles and methodologies, the artists featured share a certain courage and a rigorously playful intellectuality. The Subjects

86. Art | Strange Days | Adaweb
    part 1 part 2 part 3 I'll talk about the relation between the veryold art of painting, and a very new medium an extension of television.  
    http://adaweb.walkerart.org/context/events/strange_days/schjeldahl.html
    
    Extractions: I'll talk about the relation between the very old art of painting, and a very new medium an extension of television. The Web or net is like the television meets the telephone. It is a vast subject, on both sides, and it is prone to a lot of abstractions and headlines which I'd like to avoid. So I thought to bring the subject down to one real world condition: what any medium, any art, has in common with every other if it is going to concern us- and that's a market. Painting which by the way is my favorite art, although I felt like I have been visiting it in the hospitals for the last 20 years is in fact not dead, and not going to die. It is capable of certain things, very fundamentals things, that no other medium can touch. It is not dead; it's just weak. The weakness has to do with use. In the Renaissance, painting was the movies, it was the Internet, it was the newspaper, it was politics, it was sex. This was actually at the beginning of the Renaissance. It has, over this century, lost social and cultural uses. It has sort of lost its arms and legs as it has gone along. Photography is one reason, of course. The movies were murderers of painting. As the final condition of painting, it is something to hang on the wall that you won't get tired of. And there are hundreds of walls in the world, and enough of them that belong to people who have money and are nervous looking at a blank wall: painting is not going to loose that function. In a way, the revolution started with Monet when he first started mass producing hay stacks, so you could get an absolutely unique painting, like all the others. And then there is the emergence of the portable painting in the late 19th Century. By the way, the thing that is interesting about France and America preferring different sizes of paintings is that America is somehow much more about painting culture. The refrigerator is of course the size of the human body. That is something we may want to go into later.

87. Directory Vaionline: Siti_Mondiali/Arts/Literature/Authors/S/Schjeldahl,_Peter
    directory.vaionline.it vi permette di accedere al directory di siti italiani. E' organizzato per aree geografiche e aree temeatiche. Fa parte del portale Vaionline che ti offre molti altri servizi.  
    http://directory.vaionline.it/Siti_Mondiali/Arts/Literature/Authors/S/Schjeldahl

88. 2001 Morgan, Robert C., PAINTED The Presence Of The Past, Essay
    Zaya. Llamenaslo Pluralismo . Guadalimar Marzo-Abril Smith, Roberta.  
    http://www.joanthorne.com/spanish/content-span-biblio.html
    
    Extractions: Morgan, Robert C.,"PAINTED: The Presence of the Past," essay for the catalogue of the show at the Joe and Emily Lowe Art Gallery, Hofstra Museum, Hofstra University, Long Island, NY Westfall, Stephen, "Wild Beauty", essay in catalogue for retrospective exhibition at Museo de Las Americas, Marzio, Abril.

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