Paul Chan’s Waiting for Godot in New Orleans chronicles the inspiration and production behind the artist’s 2007 theatrical experiment of the same name, through original artwork, interviews, and extensive photo-documentation.
The publication, released by Creative Time, offers insight into the imagination of a young artist, moved by the aftermath of Hurricane Katrina to re-conceptualize Samuel Beckett’s seminal work of absurdist theatre as a site-specific project, set amid the wasteland of watching and waiting that the devastated city had become.
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Video art was a suspicious, outsider’s medium not long ago. To be sure, it has paradigms, heroes, and conventions — which new generations are feeling confident enough to subvert — but from the ancient perspective of the art-historical canon, it’s an adolescent. Perhaps due to this aura of youthfulness, or maybe because video-based art is very like tiny, short movies, we can’t get enough of it. And at the center of all the fuss is Remote Viewing curator and Art Cinema author Paul Young, whose current LA exhibition culled from the LOOP Video Art Fair is the equivalent of an indie blockbuster.
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VIEW THE SLIDESHOW OF HER INSPIRED MISADVENTURES
After reading about Jerry Saltz’s overnight stay at Carsten Höller’s Revolving Hotel Room at the Guggenheim, we got to thinking: What would it be like to spend a night in New York’s other major museums? No better way to find out than to try. We sent our more attractive reporter Adda Birnir — robe in hand — with our staff photographer Tom Starkweather to *test out the accommodations.
Jerry Saltz, we see your Guggenheim and raise you the New Museum, Brooklyn Museum and MoMA.
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