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Mary Beard

7 April 1994
On the Museum’s Ruins 
by Douglas Crimp.
MIT, 348 pp., £24.95, November 1993, 0 262 03209 0
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... reality (the reality of death) must be taken by a variety of proxies: the fittings of the death-camps, and film and photographs of the murders – with all the risks of voyeurism that that entails. DouglasCrimp’s On the Museum’s Ruins is a contribution to these wide debates on the nature of the museum object. A collection of nine previously published articles (plus a new Introduction), it focuses ...

Andy Paperbag

Hal Foster: Andy Warhol

21 March 2002
Andy Warhol 
by Wayne Koestenbaum.
Weidenfeld, 196 pp., £12.99, November 2001, 0 297 64630 3
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... Louis and the stained grounds of Helen Frankenthaler; and when Warhol did more such works in the late 1970s, Neo-Expressionist painting looked even more absurd than it did before. As critics such as DouglasCrimp and Richard Meyer have stressed, this queering of art was also a matter of content. If the persona behind Abstract Expressionism was the ‘action painter’ in existential torment, Warhol put ...
6 April 1995
Shark-Infested Waters: The Saatchi Collection of British Art in the Nineties 
by Sarah Kent.
Zwemmer, 270 pp., £19.95, November 1994, 0 302 00648 6
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The Reviews that Caused the Rumpus, and Other Pieces 
by Brian Sewell.
Bloomsbury, 365 pp., £12.99, November 1994, 0 7475 1872 6
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... No other thorough-going statement from this side has been produced, and Theoria is a warning against the attempt. But it also points to a lack on the other side. America has had Rosalind Krauss, DouglasCrimp, Hal Foster and Craig Owens setting up positions, rationalising developments; in Britain there’s very little general pro-contemporary art theory. But then in New York the battle-lines and the ...

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