Tag Archives: David Rimanelli


Join F magazine this weekend for the livestream launch of issue 10: “Real Estate,” with performances by Thatcher Keats, Tamantha, Dawn Cerny, Blair Hansen, John Miller, Aura Rosenberg, and MoneyGraham, NYC.

Contributors to F 10: “Real Estate”—designed by Tuomas Korpijaakko—include Nick Angelo, Trudy Benson, Andrianna Campbell-La Fleur, Dawn Cerny, Vanessa Conte, Jenni Crain, Liz Deschenes, DROOIDS, Russell Etchen, Peter Fend, Jen Fisher, Jamie Fletcher, Ryan Foerster, Thalia Forbes, Blair Hansen, Julie Hart, Christopher K. Ho, Miles Huston, Jeremy Jansen, Butt Johnson, Matt Kenny, Max Maslansky, Haley Mellin, John Miller, MoneyGraham NYC, Phoebe Nesgos, NOWORK, Seymour Polatin, David Rimanelli, Alex Roth, Heather Rowe, Alan Ruiz, Amanda Schmitt, Steel Stillman, Nickolaus Typaldos, and Kevin Zucker.

See links below for details.


Zoom ID: 931 8563 1931

Password: 087688


April 2020.

F, from top: Issue 10: “Real Estate”; Sylvia Bataille in issue 4; issue 3: “Reflection.” Images courtesy and © F.


Beardsley was an emblem of his era: dandy, aesthete, decadent. But for all that emphasis on surfaces and affectation and decor, on art not just free of tendentious moralizing but on a mission to be stylishly, poetically, outrageously amoral or immoral, there was also an ethical imperative: The stormy, magnificent sea is a must all the time. No beauty without violence. No sublimity without corruption. No mores or directives or psalters or self-improvements. These are the crude outlines of the Moral Philosophy of the Exquisite…

Consider the contrast with the prevailing mores of today: Despite the immense degree of sexual freedom that characterizes our time, there is a resurgent compulsion toward stricter morality, a kind of rectitude that oddly mirrors the “repressive” Victorian era and its regime of endless self-improvement, bodily as well as intellectual, moral, and spiritual; self-help was another invention of the nineteenth century. — David Rimanelli

A video tour of Tate Britain’s suspended show AUBREY BEARDSLEY will be available this week on YouTube and the museum’s website, which also provides an illustrated exhibition guide and a short film about the artist.


From Monday, April 13.

Tate Britain

Aubrey Beardsley, from top: The Climax, 1893, line block print on paper, from A Portfolio of Aubrey Beardsley’s Drawings Illustrating Salome by Oscar Wilde (John Lane, 1907); The Woman in the Moon, 1893, line block print on paper; Black Coffee, 1895, line block print on paper, Harvard Art Museums / Fogg Museum; Design for the Frontispiece to John Davidson’s Plays, 1894, Tate Britain; Enter Herodias, 1893, ink on paper, from A Portfolio of Aubrey Beardsley’s Drawings Illustrating Salome by Oscar Wilde; The Cave of Spleen; 1896, illustration to Alexander Pope’s The Rape of the Lock, William Sturgis Bigelow Collection, Museum of Fine Arts, Boston; The Yellow Book, vol. 1, 1894; Two Athenian Women in Distress, 1896, from The Lysistrata of Aristophanes,published by Leonard Smithers, collotype print on paper; Self-Portrait, 1892, British Museum; Lysistrata Shielding her Coynte, 1896, illustration to the frontispiece for The Lysistrata by Aristophanes, pen & ink over traces of preparatory graphite; Lysistrata Haranguing the Athenian Women, 1896; The Black Cape, 1893, line block print on paper; Frederick EvansAubrey Beardsley, 1893, Wilson Centre for Photography, London. Photographs of images courtesy and © Tate.


“Dash [Snow] and David Hammons are both artists with a witch-doctor feel to their work, which is important, because ultimately what is the value of art?… In an increasingly secular society, it’s even more important as people try to form their belief systems. If you’re not going the readymade route, then you look around for the tools available to make something of your own. That’s a big part of the artist’s job or the writer’s job…

“It’s found in the moment, not in an academic way. You find it in the practice. I think the academic and institutional part of the art world is a big problem. Artists often collaborate with them to their detriment, because they think they need the institution as a go-between, a translator for the public. Dash, like Hammons, understood that you don’t need the middleman. Cut out the middleman. Make him wait in line with everyone else. It has to be on the artist’s terms.” — Glenn O’Brien on Dash Snow*

The new exhibition THE DROWNED WORLD presents work from the late artist’s archive, including a selection of rarely seen sculptures.


Through May 12.

Participant Inc

253 East Houston Street, New York City.

*”I Don’t Believe in Masterpieces AnywayGlenn O’Brien on Dash Snow,” Ursula 2 (Spring 2019).

See Nicole Miller and David Rimanelli on Snow.

Dash Snow, from top: Mixed-media sculpture, 2000–2009; The Drowned World: Selections from the Dash Snow Archive, 2019, installation view, Participant Inc, New York, photograph by Mark Waldhauser; Untitled, 2000–2009, Polaroid (Kunle Martins (left) and Snow); Untitled (Past, Present), 2006, mixed-media sculpture; Untitled, 2007, collage; Untitled (Her Kisses Were Dangerous), 2006–2007, collage. Images © Dash Snow, courtesy of the Dash Snow Archive, New York City and Participant Inc. Special thanks to Lia Gangitano.