Asymptotic Form. Tiffany Sia

A note to the readers: The author recommends We Don’t Trust You by Future and Metro Boomin as atmospheric listening…
A note to the readers: The author recommends We Don’t Trust You by Future and Metro Boomin as atmospheric listening…
The draw of nonfiction filmmaking often lies in its indexical quality — not only its ability to capture real people,…
Arthur Jafa: Ok, we’re at my studio in LA. [laughs] Where do we start? Anne Imhof: I thought we’d talk.…
Through their recent films, installations, and research, Lucy Beech investigates the dreams and troubles of matter in flux, sharing visions…
What is “raw material” in an age of ready-mades? For Coumba Samba, it is color. Her show “Red Gas” (2024)…
During an inspiring video conversation over coffee with New York City-based artist Brett Ginsburg – an evening decaf espresso for…
If the fantasy, or idea, of America presents an archetype of love-bombing, Jasmine Gregory’s work lays bare the seduction and…
Nina Hartmann’s work is probably post-meme and definitely post-gamebook. Remember those exciting books where you could choose your destiny? Where…
In “A WAY OF LIFE,” Elaine Cameron-Weir’s solo show staged earlier this year at Lisson in New York, the artist…
Gordon Hall: Can you tell me about the origin of your Torrington Project, the upcoming event, and the book project?…
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It’s easy to forget that painting itself is a technology, but before the arrival of photography, painting possessed the unique…
Matthew Barney’s latest film, Secondary (2023), builds to a single moment — a balletic reenactment of the infamous 1978 American…
YOU HAVE TO LET GO OF THE PAST Anicka Yi often collaborates with biologists, chemists, engineers, and other specialists. For…
1996. A dimly lit table. A blacked-out television studio. The Charlie Rose Show. A talk show host and three young…
A colony of massive, spherical forms infiltrates the panopticon architecture of M|A|C Mataró, a former prison turned art museum…