Ed Ruscha, Annie, 1962© Ed Ruscha
Photo: Paul Ruscha
Our April issue is a diverse one. However, I think there is an interesting theme that runs through these essays and the work of the artists they’re about concerning the ways the conceptual emerges in art. U. Aldridge Hansberry has written, at my request, about her work as an American percussionist and composer who has lived in Paris for the last twenty years. I hope you will enjoy reading her texts and listening to her compositions as much as I have.
We expect to experience music in many different forms (for instance, live and recorded) and to hear the same music repeatedly. But Marina Abramovic’s re-performances of performance art pieces at her MoMA retrospective has brought the issues of memory and repetition into play in that realm. I wish to thank Harry Weil for engaging us in this discussion.
And I am so appreciative that the retrospective of the American artist Ed Ruscha: 50 Years of Paintingpremiered at the Haywood Gallery in London, UK, and has been deliciously dissected by our London correspondent, Anna Leung. The show closed in London, but travels to Haus der Kunst, Munich (12 February-2 May 2010) and Moderna Museet, Stockholm (29 May-5 September 2010).
I want to acknowledge all your positive response to our March issue, which focused on the artist Alice Neel. I would love to know if there are other artists our readers might suggest to us, as we plan to devote an issue to a single artist every year. I look forward to your suggestions. Please contact me email@example.com.
All my best,
The Art Section