The relationship between photography and national parks is a long, varied and often fruitful one.
In the 1970s, Chris Burden's radical performance art courted danger and grappled with violence.
Eight days after asking the Whitney Museum of American Art to remove an exhibition wall-text that refers in a false and defamatory way to a review that I wrote 22 years ago, I received a reply from Whitney director Adam Weinberg.
In 1992, columnist Christopher Knight commented on Chris Burden's "The Other Vietnam Memorial" and the critical reaction to the piece in the art community.
When he had himself shot in the arm for a performance piece at a Santa Ana gallery, Chris Burden became fleetingly famous. But years later, when he created such outsized, imagination-charged works as “Urban Light,” the ranks of vintage lampposts tightly arrayed outside the Los Angeles County Museum...
Donato di Niccolò Bardi, better known to posterity as Donatello (circa 1386-1466), decamped from Florence, Italy, in 1443 for what turned out to be a decade-long sojourn in Padua, about a hundred miles north on the outskirts of Venice.
Pamela Geller, president of the American Freedom Defense Initiative, which organized the Muhammad Art Exhibit & Contest near Dallas that led to a fatal shooting Sunday, is a staunch supporter of the cherished American freedom to do something stupid.
Being misquoted is one thing, but being completely misrepresented in an art museum wall text is quite another – especially when something I wrote more than 20 years ago is used as a slur concocted from the direct opposite of my critical opinion.