![]() John Warnock Hinckley Jr., to impress Jodie Foster, decided against aircraft hijacking, or committing suicide in front of her, opted instead to assassinate the president, failed. ![]() ![]() If not working through some personal shit and/or allegorical family drama, then was she thinking of a genealogy. The artist was born two years later, in 1956. Nate Rodgers’s 1976 sex romp, Tanya, about a kidnapped heiress who becomes the “ultimate Revolutionary Nymphomaniac,” a “four star general in the war for carnal knowledge”). ![]() What was triggered in her thinking when it occurred to her (if it did) that Clement Greenberg curated both her mother and her father in their first big New York group show, “Emerging Talent,” in 1954, also the year Patricia Campbell Hearst was born-“Patty,” who emerges in the Museum für Moderne Kunst’s astounding survey “Cady Noland,” curated by Susanne Pfeffer in collaboration with the artist, as a soft young girl in a chapel and truncated cheerleader in Untitled (Patty in Church), 1991, and as “Tanya,” a gun-toting, Symbionese Liberation Army fugitive and FBI suspect, propped up like a Cineplex standee in Tanya as a Bandit, 1989 (cf. What was she thinking about the old red, white, and blue? About violence? About American history? What was she thinking about Lee Harvey Oswald or Charles Manson, Betty Ford or Jackie O.? ON SECOND THOUGHT: What was she thinking? Noland, Touch, 1963 Steven Parrino, Bent Painting, 1991. ![]() Foreground: Cady Noland, Dead Space, 1989. ![]()
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