On the Occasion of Absence. David L. Johnson
Typically what cannot be seen Is what we most like to see. Longing is my favorite Material for engaging (not…
Typically what cannot be seen Is what we most like to see. Longing is my favorite Material for engaging (not…
Flood-tide below me! I see you face to face! Clouds of the west — sun there half an hour high…
Chiffon Thomas’s sculptures are a vexed dance between laws of prohibition and compulsion for transgression. For his solo show at…
A hole in the wall greets visitors to “Energies,” an international group exhibition at the Swiss Institute in New York.…
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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…
I’ll build a stairway to paradise With a new step every day I’m going to get there at any price…
All earlier work used buildings neither as objects nor as art material but as uniquely cultural complexes in a…
One image, slid. Something like cleavage, crumpled, diminishes into the groin. One image, synthesized. She is hard, interstice furling interstice,…
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…
The exhibition brochure for Steve McQueen’s Bass (2024), which occupies Dia:Beacon’s 30,000-square-foot basement with sixty ceiling-mounted LED lightboxes and three…
A colony of massive, spherical forms infiltrates the panopticon architecture of M|A|C Mataró, a former prison turned art museum…
High Stakes Michael Hopkins, together with his wife Patty, designed a steel, aluminum, and glass house. Housing the practice and…
I will start with a confession: I once bumped into Dana Schutz in the center of Athens on one of…