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By Sylvere Lotringer, editor of Semiotext(e)
Jeremy Gilbert-Rolfe and Sylvere Lotringer: A Conversation
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April 19, 2002 | When is theory useful to an artist? The critic Sylvere Lotringer, editor of
Semiotext(e) is often credited (or blamed) for the art world's fascination with French Theory. The paintings and essays of Jeremy Gilbert-Rolfe reflect
this engagement with French philosophical writing. Here they discuss the relationship between art and theory, and the role French Theory plays in
Gilbert-Rolfe's own work as a critic and an abstract painter.
SL: You are both a painter and a critic, and I assume you became a critic because you're a painter. Often there's hardly any other way of getting
things out there, except by doing it yourself.
JGR: I'll tell you anecdotally how I started to write art criticism... I started by accident. I was in a bar with Bobby Pincus-Witten, who was in
charge of reviews for Art Forum. I was trashing the reviewers he used and he just said, Well, if you think you can do better, then why don't you write
some reviews? And so that's literally how it started.
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The Need To Believe |
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Daniel Pinchbeck
When my father died two years ago this September, he left behind hundreds of paintings and sculptures in his rent-controlled loft on Greene Street - the
relics of a life-long investigation. My fatheršs art went ignored, essentially unseen during his lifetime. His artist friends were his only
audience.
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In her 2002 show, From Mouth To Ear, Andrea Bowers chose to make her vocation completely explicit. She is a memorialist, a "sentimental bitch"... hungry for traces that people leave upon the landscape. |
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A Critical Essay by Chris Kraus
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Mariko Mori's photographs take us into a realm of sci-fi high fashion....
They render her world a seductive zone of artifice - the surface beneath the surfaces, the place where myths come from. |
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A Critical Essay by Paul D. Miller
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