We Are All in This Together. Aren’t We?
It is late April in 2020, and already I have been in isolation for almost two months. Following the “unfortunate”…
Features
Rest as Revolution: The Speculative Nature of Lynette Yiadom-Boakye’s Figurations
Race, resistance, rage, rebellion — words that are presently etched into the forefronts of everyone’s mind. As cities burn, glistening…
Post-Catastrophic Romance: On Neïl Beloufa’s www.screen-talk.com
For more than a decade, Neïl Beloufa has produced a vast array of films and installations that propel viewers into…
Genesis Breyer P-Orridge
Summing up the iconic life of dear friend and legendary provocateur Genesis Breyer P-Orridge would be a daunting task in…
Dana Schutz: Weathering the Storm
“How do you begin to depict a feeling?” wonders Dana Schutz, articulating a central problem that drives her artistic practice.1…
Keeping it Alive: Oscar Murillo
Who better to interrogate the inherited habits of modernism, in so far as they continue to shape painting, than Oscar…
COMPOSITIONAL MACHINES. Seeking an endgame or a new beginning, Avery Singer explores what it means to dream of painting without the hand
Transfixed by a trio of Avery Singer works under the diffused glow of the Frieze Los Angeles tent, I was…
Emily Mae Smith: A Broom of One’s Own
Fresh, febrile, shot through with humor and glamour, the paintings of Emily Mae Smith are reliquaries of art history and…
GO, DADDY!
Issy Wood, GO DADDY!, 2020. Visual project for Flash Art.
Jana Euler: Contextual Painting in Times of Global Groundlessness
As much as an apt consideration about painting today would have been a welcome opening, there is an elephant in…
Invulnerable Vulnerabilities: Life and Art in the Time of the Virus
Nathaniel Mellors: We should talk about some of your work and the exhibition you’re working on for the museum. Tala…
Love and the Paraliterary: On Barbara Kruger’s Picture/Readings
Barbara Kruger’s work has come to represent a host of negative affects for art historians and critics, and it is…
“Bananas are a contemporary mirror”. Maurizio Cattelan in conversation with Virgil Abloh
Maurizio Cattelan: You produce desire for your audience: How do you generate it? What moves desire? Virgil Abloh: In general,…
Sherrie Levine: A Matter of Indiscernibility
“And yet there is a sense in which the painter also creates a bed? Yes, he said, but not a…
Exilic Glamour: Alice Channer
It took Alice Channer a while to go to art school and start her BA. Part of the reason was…
Arthur Jafa. Face It: The “Affective Proximity” of Imagery
“John Akomfrah […] said something that struck me, because I feel it’s at the core of almost everything that I…