I have been reading the Ralph Lemon and Triple Canopy volume On Value, which contains this brief piece by Nari Ward on his work Ultra. I was intrigued by the way that Ward invokes the curious case of Robert Rauschenberg’s 1959 work Canyon (which was gifted to MoMA on account of the fact that it […]
In his essay ‘Ralph Lemon’s Counter-Memorials’, Nicholas Burns praises the choreographer’s drawings for their ‘arresting facticity’ and compares them to the figures on ancient Greek geometric vases, in how they: provide information, as well as the artist’s own perspective on it, inexpressible otherwise. Lemon’s practice of what he calls ’empirical performance formalism’ means that the […]