“The German Officer paintings in particular provide a kind of populist synthesis of Analytic Cubism and Cubist collage, fired by German Expressionism but also drawing on American still-life traditions, including the trompe l’oeil paintings of William Harnett and John Peto. The works also signal Hartley’s gayness and his love of military pomp…The overlap of these two spheres, fomented by their focus on the idealized man, is detailed by Bruce Robertson, one of the most illuminating of Hartley scholars, in the show’s excellent catalog.”
via the NYT
“Semi demolished Prentice building, Chicago. Vandalism never looked so good“…
Specifically, he writes about “how to begin thinking through the 21st Century’s emerging photographic landscape, and the ways both photographic practices and photographs themselves are changing“.