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…
Features
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…
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…
After the Master: The Copy as Origin and Renewal
Go to any major museum to see ancient Greek statuary and you’ll find wall labels that read “Roman copy.” It’s…
WELCOME TO SUNNYDALE Mining the American suburban fantasy through a widely varied output, Olivia Erlanger expands the limits of sculptural thinking
Olivia Erlanger politely asks me to hold the call while she scrolls diligently through her screen cap folder. The lengthy…
Marta Minujín’s The Parthenon of Books: A Living Elevation of Social and Cultural Relations
A collective endeavor of Greek antiquity — no less than eighty different artists worked on the frieze alone — the…
Negative Space, Objects in the Absence of Performance
As art institutions adopt performance-based practices, artists, curators, and archivists are faced with new considerations about how to classify and…
Too Old to Die Young
In her 1975 poem “Liebestod,” Gwen Head writes of a girl on a beach who sunbathes with a glittering gun…
Jimmy Robert: Reworking Performativity
The work of Berlin-based artist Jimmy Robert (b. Guadeloupe (FR) 1975) is situated in the interstices between the art object,…
Apertures of Queer Prophecy. Alex Baczyński-Jenkins’s Such Feeling
At the center of Alex Baczyński-Jenkins’s Until a thousand roses bloom (with Warsaw in the background) (2018) are two plots…
When You Mix Something, It’s Good to Know Your Ingredients: Modes of Addressing and Economies of Attention in the Visual and Performing Arts
The event-oriented neo-avant-gardes of the 1950s and ’60s were very much driven by an oppositional stance to the conventions of…