Oh, go see the Lawrence Weiner show at the Whitney before it closes February 10. It's the first major retrospective of his work in the U.S. Some of the pieces - small in scale, intensely conceptual, language-y and yet objects - date back to 1960 (he was just 18 and had, Kerouac-like, come across the country).
Sunday, November 18, 2007
in direct line with another & the next
Oh, go see the Lawrence Weiner show at the Whitney before it closes February 10. It's the first major retrospective of his work in the U.S. Some of the pieces - small in scale, intensely conceptual, language-y and yet objects - date back to 1960 (he was just 18 and had, Kerouac-like, come across the country).
"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'" 
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for 
