ON MARCIA TUCKER

To say time flies means that it ceases to have any specificity or urgency. Westerners tend to think of this as meditative—what happens when you’ve gone exploring in the computer, or you’re deep into a really good book, or falling madly in love. It’s unusual, something other than the ordinary temporal sensibility that gets us to work, the kids to school, the assignments done, the dinneron the table. How paradoxical, then, that the most rewarding and satisfying activities are those where it seems as if time ceases to exist.Marcia Tucker, 1996*

Friends and colleagues of the late Marcia Tucker—art historian, curator, and New Museum founder—will gather this week for a book launch and panel on OUT OF BOUNDS—THE COLLECTED WRITINGS OF MARCIA TUCKER.

OUT OF BOUNDS BOOK LAUNCH AND PANEL DISCUSSION

Thursday, October 17, at 7 pm.

New Museum Theater

235 Bowery, New York City.

*Marcia Tucker, from A Labor of Love, New Museum exhibition catalog, 1996. Reprinted in Out of Bounds, 2019.

From top: Marcia Tucker; Joan Brown, The Room, Part I (The Leg), 1975, oil enamel on canvas, courtesy and © Joan Brown Estate, Anglim Gilbert Gallery, and George Adams Gallery, “Bad” Painting exhibition, New Museum, 1978; Pat Steir, The Virgin’s Dream, 1972, oil and pencil on canvas, Lannan Art Collection; Out of Bounds—The Collected Writings of Marcia Tucker, design by Catherine Lorenz, courtesy and © the New Museum and Getty Publications; Daisy Youngblood, Romana, 1987, low-fire clay, courtesy McKee Gallery, photograph by Fred Scruton; Labor of Love exhibition, New Museum, 1996; Liza Lou, Kitchen, 1991–1996, glass beads, wood, wire, plaster, and artist’s used appliances, photograph by Tom Powell, Labor of Love exhibition, New Museum, 1996. Images courtesy and © the artists, photographers, and publishers.

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