Peter Wollen

Peter Wollen teaches at UCLA.

Beyond Zero: Kazimir Malevich

Peter Wollen, 1 April 2004

Kazimir Malevich was the most enigmatic and the most provocative painter of the early Soviet period. He can be seen as a pioneer of abstraction and of the minimalist works produced many years later by such artists as Barnett Newman, Mark Rothko and Yves Klein. Or he can be regarded as a folk artist, or as a visionary who proposed to launch his Suprematist constructions and artworks into outer...

Late in August I visited Documenta 11, the most recent version of the mega-exhibition that has been held in the German city of Kassel since 1955, when Arnold Bode, a professor of art at the Kassel Academy, decided to organise an international art show. It achieved such success that it soon became a crucial element of Kassel’s character as a city, once the arms industry had gone.

Hare’s Blood: John Berger

Peter Wollen, 4 April 2002

John Berger’s selected essays run to nearly six hundred pages, yet that is just the tip of the iceberg if one looks at the totality of his published work: the essays and reviews about the visual arts – drawing, painting, photography, film – but also short stories, journals, screenplays, travel articles, letters, television scripts, translations, novels, poems, even a requiem...

Leave-Taking: Baader Meinhof Studies

Peter Wollen, 5 April 2001

In June 1995, the Museum of Modern Art in New York announced that it had acquired a series of 15 paintings by the German artist Gerhard Richter, collectively entitled October 18, 1977. At 11 p.m. on 17 October, the prison officer in charge of the four prisoners on the seventh floor of the high-security wing of Stammheim prison in Stuttgart had noted in his night duty report: ‘23.00...

Tankishness: Tank by Patrick Wright

Peter Wollen, 16 November 2000

The tank, I was surprised to learn, was a British invention. It provided a much-needed response to the recent development of barbed wire, fortified trenches and rapid-fire machine-guns. Armoured against both wire and gunfire, the tank could lurch across trenches and traverse roadless battlefields pitted with shell craters. I was even more surprised to learn that the tank was developed in the...

Vehicles of Dissatisfaction: Men and Motors

Jonathan Dollimore, 24 July 2003

Gridlock is a great leveller. It immobilises the fastest roadster as surely as the slowest truck. It reminds us that the car is an indispensable part of what we are, but also a threat to us....

Read More

Mad Monk: not going to the movies

Jenny Diski, 6 February 2003

I think it is two years since I’ve been to the cinema. This is something of a mystery to me, like love gone wrong: in fact, it is love gone wrong. Was the love misguided in the first place,...

Read More

The names of the actors appear briefly on a dark screen. We hear the sound of a car on a road. A title reads: ‘This film is based on a true story.’ Then we see a large American car...

Read More

Many Andies

Andrew O’Hagan, 16 October 1997

All his life Andy Warhol looked like death. He came into the world that way: blank, rheumy-eyed, sick as the day was long. An unmerry child with St Vitus’ Dance, the young Warhol lay...

Read More

From Plato to Nato

Christopher Norris, 7 July 1983

Eagleton’s book is both a primer and a postmortem. It surveys the varieties of recent and present-day literary theory, only to suggest – in its closing chapter – that they had...

Read More

Read anywhere with the London Review of Books app, available now from the App Store for Apple devices, Google Play for Android devices and Amazon for your Kindle Fire.

Sign up to our newsletter

For highlights from the latest issue, our archive and the blog, as well as news, events and exclusive promotions.

Newsletter Preferences