I’ve loved Blaisdell’s clever, trippy writing for some time now, but this piece, on the work of Lewis Baltz, is spectacular. Two years in the writing, Blaisdell begins by rubbishing the sort of curatorial discourse that attempted to set out Baltz’s work as a sort of sandbox containing all of the concerns of contemporary mainstream art. And he does this in a sentence so long and so elegant that it left me breathless twice over:
‘In Baltz’s case this usually results in his being all things to all camps – simultaneously a minimalist, a conceptualist, and a “definitive formalist,” because a minimalist holds that less is more and a conceptualist holds that it is no longer possible to make signifiant objects in paint, that one must in fact go wholly beyond objecthood (thus photography becomes essential to such enterprises), and a formalist (definitive or otherwise) holds that painting is capable of significance…
View original post 323 more words
A note from Pulitzer prize-winning author,N. Scott Momaday, discussing GUS BLAISDELL COLLECTED (Gus was editor on Momaday’s second book, The Way to Rainy Mountain, published by UNM press).
Dear Nicole,The book is a clear mirror of the man. It is beautiful and moving. Gus and I made a legendary journey to Rainy Mountain in the hard weather that shapes mind and memory. It was a quest, a journey eminently worth making.With deepest thanks.Scott
DISCUSSING GUS at UNM bookstore Wednesday December 5th at 4pm