Peter Dobey

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Alison Pilkington - Third Place, ArtSlant Prize 2013 Alison Pilkington’s paintings are unique in that they provoke thought itself. Many works of art will get the viewer thinking, but most rely on subject matter or conceptual thematization to accomplish this. Her paintings however, unsettle the viewer through their imagery alone. This doesn’t come easy. The viewer has to want to really look, in order to question their own perception. So it is fitting that the artist, who is completing her PHD... [more]
In conjunction with the release of the monograph Sorted Books, the latest installment of Nina Katchadourian’s ongoing series of organized bookspines and covers, Once Upon a Time in Delaware/In Quest of the Perfect Book will be on display at Catharine Clark Gallery, New York as of May 10th, coinciding with the Frieze New York art fair. In her Sorted Books project, which has spanned two decades, the artist re-organizes books of various global collections and libraries into new groupings in order... [more]
In the history of Western Art, religious and sacred themes have been the predominant subject matter since time immemorial. However, somewhere along the lines of the last 200 years, following suit with historical precedents outside of the realm of art, religious themed art, and an emphasis on the sacred or even the sublime has lost its importance and for many contemporary artists and viewers seems outdated. So much so that today, in an era of conceptualism and post-conceptualism, it is almost a... [more]
Herzog’s Whitney Biennial Piece Is Not Overrated but Under-Thought  
Kai Althoff, Thom Andersen, Charles Atlas, Lutz Bacher, Forrest Bess, Dennis Cooper, Cameron Crawford, Moyra Davey, Liz Deschenes, Nathaniel Dorsky, Nicole Eisenman, Kevin Jerome Everson, Vincent Fecteau, Andrea Fraser, LaToya Ruby Frazier, Vincent Gallo, K8 Hardy, Richard Hawkins, Werner Herzog, Jerome Hiler, Matt Hoyt, Dawn Kasper, Mike Kelley, John Kelsey, John Knight, Jutta Koether, The Red Krayola, George Kuchar, Laida Lertxundi, Kate Levant, Sam Lewitt, Joanna Malinowska, Andrew Masullo, Nick Mauss, Richard Maxwell, Sarah Michelson, Alicia Hall Moran and Jason Moran, Stephen O’Malley, Laura Poitras, Matt Porterfield, Luther Price, Lucy Raven, Peter Rehberg, Kelly Reichardt, Elaine Reichek, Michael Robinson, Georgia Sagri, Michael E. Smith, Tom Thayer, Wu Tsang, Oscar Tuazon, Gisèle Vienne, Frederick Wiseman at Whitney Museum of American Art March 1st, 2012 - May 27th, 2012
Posted 4/1/13
My response to Art Fag Cities' Paddy Johnshons review of the Werner Herzog work at the 2012 Whitney Biennial, also mentioned in CAPITAL magazine.  PARIS — In a recent article on AFC, Paddy Johnson argues that Werner Herzog’s piece in this year’s Whitney Biennial is essentially a throwaway. She sees Herzog’s contribution as a quick fix for inclusion that relies mainly on “bells and whistles” rather than substance. But her account is conspicuously reactionary and seems to be more of a response... [more]
Claire Bishop, Participatory art, Artificial Hells and fauxtopias.  
Claire Bishop at Kadist Art Foundation September 15th, 2012 5:00 PM - 7:00 PM
Posted 3/31/13
Today, during Claire Bishop’s discussion of her much talked about new book “Artificial Hells”, at the San Francisco art space Kadist, I asked her a question that went something like the following: “What aesthetic void does the colloquialism “Social practice” fill ?, And by the way, what the hell does “Social Practice” mean? Where does this word come from? Resembling the word “social work” it seems at best irrelevant and at worst offensive. The efficacy of it’s impact? What does this “social... [more]
When Seeing is Better Than Reading - For  
Bruce Nauman at Hauser & Wirth (Savile Row) January 30th, 2013 - March 9th, 2013
Posted 3/31/13
My article about the Bruce Nauman show "mindfuck" where I investigate how sometimes theoritical catalogue essays tell you how to read an artwork rather than opening the conversation. For [more]
The grand re-opening of the Palais de Tokyo was greeted with such expectation that even Nicolas Sarkozy payed it a visit. In fact, judging by the length of the queue on the night of the 12th, it seemed the whole of Paris showed up. This night, deemed “(Entre) Ouverture” was a thirty-hour-long intensive of non-stop performance, installation, and people-gawking. This ephemereal event, churning out performances and barely-there art objects, is in some way categorically opposed to what would come... [more]
The works of Mathieu Mercier walk a curious line between art and consumer object, often using mass-produced products as medium. By inhabiting this critical intersection, his pieces question the essence and cultural status of the art object in its ubiquitous relationship with consumer society and the legacy of modernism. With his show at Le Crédac coming down in less than a week, I asked Mercier some questions about the ontological nature of his work, and how it fits into the lineage of the... [more]