New York Magazine
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From left, Adam Yauch, Mike Diamond, and Adam Horovitz.
Photo: Ebet Roberts/Redferns
With Run DMC.
Photo: Nick Elgar/UNE-LFI
On the Madonna tour.
Photo: Glen E. Friedman
With D.J. Rick Rubin.
Photo: Josh Cheuse/PYMCA/MusicPictures
Horovitz and Ringwald.
Photo: David Plastik
On the 1986 tour with Lyor Cohen (center, with glasses).
Photo: Courtesy of Lyor Cohen
Photo: Thomas Rabsch
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.