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	<title>GalleristNY &#187; MoMA Curator Ann Temkin Will Pen Essay for Damien Hirst &#039;Spot&#039; Show</title>
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		<title>GalleristNY &#187; MoMA Curator Ann Temkin Will Pen Essay for Damien Hirst &#039;Spot&#039; Show</title>
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		<title>MoMA Curator Ann Temkin Will Pen Essay for Damien Hirst &#039;Spot&#039; Show</title>

		<comments>http://galleristny.com/2011/12/ann-temkin-will-write-a-damien-hirst-spot-show-catalogue-essay/#comments</comments>
		<pubDate>Thu, 15 Dec 2011 17:18:09 -0400</pubDate>
					<link>http://galleristny.com/2011/12/ann-temkin-will-write-a-damien-hirst-spot-show-catalogue-essay/</link>
			<dc:creator>Dan Duray</dc:creator>
				
		<guid isPermaLink="false">http://www.galleristny.com/?p=7439</guid>
		<description><![CDATA[<p><div id="attachment_7451" class="wp-caption alignleft" style="width: 210px"><a href="http://nyogalleristny.files.wordpress.com/2011/12/634328192769531250635899_36_atemkin_020811.jpg"><img class="size-medium wp-image-7451" title="634328192769531250635899_36_ATemkin_020811" src="http://nyogalleristny.files.wordpress.com/2011/12/634328192769531250635899_36_atemkin_020811.jpg?w=200&h=300" alt="" width="200" height="300" /></a><p class="wp-caption-text">Ms. Temkin. (Photo courtesy of Patrick McMullan)</p></div></p>
<p>Here's a tidbit we missed from the latest Gagosian press release: Ann Temkin, the Museum of Modern Art's chief curator of painting and sculpture, will pen a catalogue essay for Gagosian's 11-gallery Damien Hirst spot painting show.<!--more--></p>
<p>The whole catalogue actually sounds fairly impressive. Along with Ms. Temkin's essay, the book will include pieces by "cultural critic Michael Bracewell and art historian Robert Pincus-Witten [who used to work for the gallery], as well as a conversation between Damien Hirst, Ed Ruscha and John Baldessari," according to the release.</p>
<p>As my colleague Andrew Russeth <a href="http://www.galleristny.com/2011/12/making-sense-of-damien-hirsts-spot-painting-spectacular/">pointed out</a> yesterday, Ms. Temkin has already written about the spot paintings, and in such a way that almost predicted this current multi-gallery exhibition. All credit to him for finding this quote, but here it is again:</p>
<blockquote><p>“[Hirst] nurtures a fantasy of an exhibition that would  unite dozens of the paintings in one place, an event that at long last  would fully reveal the nightmarish character of the project. And only  then, he says, would he decide that it was time to stop making them.”</p></blockquote>
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		<content:encoded><![CDATA[<p><div id="attachment_7451" class="wp-caption alignleft" style="width: 210px"><a href="http://nyogalleristny.files.wordpress.com/2011/12/634328192769531250635899_36_atemkin_020811.jpg"><img class="size-medium wp-image-7451" title="634328192769531250635899_36_ATemkin_020811" src="http://nyogalleristny.files.wordpress.com/2011/12/634328192769531250635899_36_atemkin_020811.jpg?w=200&h=300" alt="" width="200" height="300" /></a><p class="wp-caption-text">Ms. Temkin. (Photo courtesy of Patrick McMullan)</p></div></p>
<p>Here's a tidbit we missed from the latest Gagosian press release: Ann Temkin, the Museum of Modern Art's chief curator of painting and sculpture, will pen a catalogue essay for Gagosian's 11-gallery Damien Hirst spot painting show.<!--more--></p>
<p>The whole catalogue actually sounds fairly impressive. Along with Ms. Temkin's essay, the book will include pieces by "cultural critic Michael Bracewell and art historian Robert Pincus-Witten [who used to work for the gallery], as well as a conversation between Damien Hirst, Ed Ruscha and John Baldessari," according to the release.</p>
<p>As my colleague Andrew Russeth <a href="http://www.galleristny.com/2011/12/making-sense-of-damien-hirsts-spot-painting-spectacular/">pointed out</a> yesterday, Ms. Temkin has already written about the spot paintings, and in such a way that almost predicted this current multi-gallery exhibition. All credit to him for finding this quote, but here it is again:</p>
<blockquote><p>“[Hirst] nurtures a fantasy of an exhibition that would  unite dozens of the paintings in one place, an event that at long last  would fully reveal the nightmarish character of the project. And only  then, he says, would he decide that it was time to stop making them.”</p></blockquote>
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