After You. Roni Horn
I. It is easy to start with the eyes. My first encounter with the work of Roni Horn involved an…
Like an owner that begins to resemble their dog, we humans have grown closer to our technologically saturated environments. What…
I. It is easy to start with the eyes. My first encounter with the work of Roni Horn involved an…
David Kohn: We’re here in your studio where you’ve been working for almost sixty years. The paintings are all gone…
Anne Imhof: I have immense respect and admiration for you as an artist, and I am very lucky to call you my friend! The first…
Luc Tuymans is smoking a cigarette outside of his studio when I arrive. It’s October 12, 2025 – a Sunday – in Antwerp, and…
One of the earliest works by Rene Matić is a video that documents their back torso being inscribed with the…
The questions of literary modernism have always been deeply entwined with those of psychoanalysis: both are concerned with the dissolution…
It feels appropriate to approach Tasneem Sarkez’s work through the seed of language. The word, as a manifold concept, laces…
354 SPRING 2026, Features, Unpack / Reveal / Unleash
There is, at the heart of Clémentine Bruno’s practice, a question that refuses simplicity: How does one make space for presence…
353 WINTER 2025–26, Unpack / Reveal / Unleash
Artist Siyi Li prefers to go by only his first name in this text. “Like a pop star,” he muses.…
352 FALL 2025, Unpack / Reveal / Unleash
In the myth of Eros, the god of love and desire emerged from Chaos in the beginning of life itself…
351 SUMMER 2025, Unpack / Reveal / Unleash
On the Greek island of Tinos, centuries-old dovecotes — white stone towers originally used to harvest pigeon droppings as fertilizer…
At its junction with the 10 and the 5 freeways on the southern edge of Boyle Heights, the 101 freeway…
As the first patents for industrial applications of polyethylene terephthalate (PET) were filed with the US Patent Office in the…
Sung Tieu’s installations often appear austere; cold, manufactured surfaces reject the gaze, and the work assumes an almost passive-aggressive bureaucratic…
David Kohn: We’re here in your studio where you’ve been working for almost sixty years. The paintings are all gone…