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…
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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…
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…
The (In)Animate World of Rebecca Horn
Between 1968 and 1972, German artist Rebecca Horn created a series of performances titled “Personal Art.” Not unlike Joseph Beuys,…