looking back . . .

As we mark the 10th year since "9/11", artists find many different ways to speak about it. Click here to see images and videos, and to read a review by Roberta Smith (New York Times) of 3 current exhibitions.

A photograph by Eugene Richards, taken at memorial service for Lt. Paul Mitchell,

formerly of Brooklyn's Ladder Company 110.

The exhibition "September 11", opening Sunday at MoMA PS1, includes works that were made before the attachs, such as a beamlike form wrapped in red tarpaulin by Christo (1964-66), and Barbara Kruger's re-imagining of the American flag (1991).

Willem de Rooij's "Index: Riots, Protests, Mourning and Commemorations

(as represented in newspapers, January 2000 - July 2002)"

A photo installation at the School of Visual Art's Westside Gallery.

take the haiku review challenge . . .

Can you summarize an art exhibition in a few words or sentences? A haiku, a sonnet? Click here to read more. Check out these examples . . .

Haiku Review: Allen Ruppersberg’s decades-long text-and-(found)-image project into memory and reconstruction has taken many practical and strategic turns. The latest, “No Time Left to Start Again,” is one of the most accessible and, perhaps for that reason, most affecting. This time Ruppersberg is acting the avid record collector, documenting early rock ‘n’ roll through its recordings; the amateur magician, researching spells; and – returning to his own salad days – a topical historian of “LA in the ‘70s,” and who knew whom and how.

Allen Ruppersberg. Honey, I rearranged the collection asking myself the question—Who is the founder of conceptual art?, 2010. Silkscreen and collaged photographs on paper

38-1/4 x 50-1/8 inches

Image courtesy of Margo Leavin Gallery, Los Angeles

Photography by Brian Forrest

Copyright Allen Ruppersberg

(Margo Leavin, 812 N. Robertson Blvd., W. Hywd 90069, thru Oct. 23.)

Haiku Review: Ron Rizk and Cindy Kane are both masters of a kind of meta-still life. Rizk describes observed objects with exacting precision within gently weathered framing structures (actually painted illusions) while Kane wields a somewhat looser brush in her intimate rhapsodies of objects enlivening the covers of art and other magazines. (Yes, the New Yorker.)

Ron Rizk, Time Exposure, 2010. Oil on panel 28 x 22 ”

Courtesy of Lora Schlesinger

(Lora Schlesinger, Bergamot Station T3, S. Monica 90404. Thru Oct. 16.)