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In Context

Not Even Wrong

Jeremy Gilbert-Rolfe and Sylvere Lotringer: A Conversation

April 19, 2002 | When is theory useful to an artist? The critic Sylvere Lotringer, editor of Semiotext(e) is often credited (or blamed) for the art world's fascination with French Theory. The paintings and essays of Jeremy Gilbert-Rolfe reflect this engagement with French philosophical writing. Here they discuss the relationship between art and theory, and the role French Theory plays in Gilbert-Rolfe's own work as a critic and an abstract painter.

SL: You are both a painter and a critic, and I assume you became a critic because you're a painter. Often there's hardly any other way of getting things out there, except by doing it yourself.

JGR: I'll tell you anecdotally how I started to write art criticism... I started by accident. I was in a bar with Bobby Pincus-Witten, who was in charge of reviews for Art Forum. I was trashing the reviewers he used and he just said, Well, if you think you can do better, then why don't you write some reviews? And so that's literally how it started.

Amour Propre

The Need To Believe

When my father died two years ago this September, he left behind hundreds of paintings and sculptures in his rent-controlled loft on Greene Street - the relics of a life-long investigation. My fatheršs art went ignored, essentially unseen during his lifetime. His artist friends were his only audience.


In her 2002 show, From Mouth To Ear, Andrea Bowers chose to make her vocation completely explicit. She is a memorialist, a "sentimental bitch"... hungry for traces that people leave upon the landscape.
  Sentimental Bitch


Mariko Mori's photographs take us into a realm of sci-fi high fashion.... They render her world a seductive zone of artifice - the surface beneath the surfaces, the place where myths come from.
  Across Morphic Fields: The Art of Mariko Mori

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