Archive

Dushko Petrovich

On Facebook, I take some cheap shots at Sarah Palin and the multibillion-dollar, publicly traded behemoth decides I’d like to see . . . ads promoting Mitt Romney. Missed again, you corporate motherfuckers! says the little voice inside my head. Your marketing will never catch me! Of course, it eventually will. It already kind of does. A fleeting invitation to a gout study snares me. Did I post something fatty? More…

30 June 2012

As a civilian, Balotelli is outlandish. Last year, his white Maserati was impounded twenty-seven times, accumulating £10,000 worth of parking tickets. He also accidentally set his house on fire with firecrackers, was fined a week’s wages for throwing darts at a teammate, and kept turning up unannounced in strange places, including a women’s prison in Brescia (“just fancied having a look”). More…

4 November 2011

ARTSCENTER TALKSOURCE isn’t just an internet art replay talk show, co-hosted by Roger White and Dushko Petrovich, two of America’s leading art commentators. It’s much, much more. ARTSCENTER TALKSOURCE transports the at-home audience into the gallery. ARTSCENTER TALKSOURCE replays the art, gets inside it, shows how it works in real time. ARTSCENTER TALKSOURCE makes the scene. More…

30 March 2011

Before he became famous for headbutting, Zinadine Zidane was actually known for his composure. At Bordeaux, Juventus, and Real Madrid, his hallmarks as a midfielder were Spartan efficiency of movement, incisive passing, and magnetic control of the ball in tight circumstances. Unlike Pele or Maradona and Chrisiano Ronaldo, Zidane wasn’t particularly flashy. More…

7 January 2011

As evidenced by the tremendous amount of real estate he holds down both here and over in Beacon, no one (of his generation) understood the nature of the large-scale institutional art project as well as Sol LeWitt. What he clearly perceived, and played with impeccably, were its limits. The resulting body of work is so successful precisely because it is so institutional. More…

23 November 2010

The noun and the verb are both painting, but there isn’t as much peach and silver as suggested. In fact, the best picture is black and white. It’s called Unravel, but it’s the most composed. As with jazz, the gap between the simple title and the unnameable experience can invite reverie. But the other perils of improvisation also abound. More…

20 August 2010

People want to have a new sense of voyeurism, they want a new level. This is something I’m really interested in. We still don’t know how this is going to grow or pop, but we know it isn’t going away. This is very important to me—I want to be in the middle of this. These other people have cracked something fundamental, and that’s what we’re looking for. We want to crack something fundamental. More…

Post-critical: We made ourselves so familiar with the past, learned so much about its modes and movements, diligently collected and studied its images, that it made sense, this persistent desire to be judged as if from the omniscient future. We loved the past, and this (always-postponed) ideal critique would finally allow us to merge with it. More…

The objects didn’t literally speak, but they always started conversations—down at the pub, in the cafeteria at the Courtauld, even the one our visitor was having now, in his head. The Victorian idea of a conversation piece had been reborn as an artwork that promoted itself. This was happening all over, but it occurred with a special fervor and skill in London, which didn’t seem coincidental to our visitor. More…

16 June 2008

If you want to know how we ended up getting seduced by a woman in a plastic Viking hat chatting away through an already-encrusted bloody nose while holding a piece of Styrofoam cheese in an emergency room parking lot, or if you’re wondering why we fell in love as she cheese-guitared Zeppelin’s “Immigrant Song” on a mountaintop perch—well, that part is pretty hard to explain. More…

10 July 2006

If the Grim Reaper were alive today, it seems he would be wearing sneakers. As the faceless city waits for cabs and hops in cars, he’s busy. He’s running around, jaw dropped—is he about to speak? Both his fists are clenched: one swings up in an even-paced trot, while the other grips a baby-blue case with fingerless gloves. What does he keep in there? More…

25 April 2006

The avant-garde isn’t what it used to be. Our sprawling culture industry busies itself mainly in locating things in the network presented by the relatively recent past. Everybody is described as the love child of so-and-so and so-and-so, so everybody gets called neo this or neo that, unless the parents are divorced—then they get called post. More…

7 December 2005

Like any good hitter, Ruscha swings with precision. He has a smooth stroke, which often gets called “cool,” and is often misunderstood as dependable. But Ruscha swings at a lot—palindromes, gas stations, entire empires—and so he occasionally strikes out. The abstract nouns Truth and Hope, set on faded teal and ice blue, are too bland to trouble me visually, or philosophically. More…

1 October 2005

No military units would consider taking me on as an embedded artist at that time, so I thought I’d better just buy a ticket to Kuwait City and see if I could find a way into Iraq. After a few frustrating days I finally hooked up with two French reporters who gave me ride to Baghdad; there I found a battalion from 3rd ID with an enthusiastic commanding officer who gave me free reign with his platoons. More…

29 September 2005

The intimacy, both of the situations Mumford painted and of his brush on the paper, gave us something we hadn’t seen from this war. As the publication of his Baghdad Journal approaches, some have begun to question the attention he’s received. Such questions would be more interesting if he had any competition. More…

14 July 2005

In 1968, the Democratic Convention broke heads, so Guston broke out. Nixon swelled with lying, Guston drew him that way. Guston said he didn’t just want his paintings to sit on the wall. The world was horrible, and the art world was being polite. So Guston invited hairy limbs to the party. What are those limbs doing? Can anyone explain their behavior? More…

Originally published in Issue 1: Negation

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17 June 2005

Steve Mumford’s watercolors from Iraq are, paradoxically, the most topical and the most stylistically out of sync works in the show, which might explain their placement on the walls of the hallway near the staff offices. An impressive corridor of images that Winslow Homer or John Singer Sergeant could have painted shows us details from our occupation of Iraq. More…

15 February 2005

A German friend asked me if graphic novels were erotic. I said, “No, they’re neurotic.” So neurotic they’re even appearing on English-department syllabi. But their graphic nature has been overlooked. Drawing is suddenly making a comeback in literature, where they know their Kafka and Classics Illustrated, but maybe not Daumier or Saul Steinberg. More…

Originally published in Issue 2: Happiness

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