Kris Martin “EXIT” S.M.A.K / Ghent
It is not concept but harmony that makes Kris Martin’s work compelling. Where ideas fall short, material and language come…
It is not concept but harmony that makes Kris Martin’s work compelling. Where ideas fall short, material and language come…
Transfixed by a trio of Avery Singer works under the diffused glow of the Frieze Los Angeles tent, I was…
ON VIEW is a printed and an online section in which Flash Art invites prominent figures of the art world…
NewCostume is a column by Matthew Linde exploring contemporary fashion practice. Episode I: a visual essay by photographer Rudi Williams…
Donald Judd’s first retrospective in the US in more than thirty years — titled simply “Judd” — presents seventy of…
Sean Landers’s scrawl is the way into his peppery worldview: his forty-painting retrospective at Le Consortium often doubles as a…
“MECARÕ. Amazonia in the Petitgas Collection” at MO.CO. is the first institutional presentation of Catherine Petitgas’s collection. Forward-looking and versatile,…
Fresh, febrile, shot through with humor and glamour, the paintings of Emily Mae Smith are reliquaries of art history and…
ON VIEW is a printed and an online section in which Flash Art invites prominent figures of the art world…
Anyone who spends time with young artists is familiar with the changes they experience during their first years working. This…
“Today is the First Day” is Wolfgang Tillmans’s first monographic exhibition in Belgium. With works covering a period from the…
Issy Wood, GO DADDY!, 2020. Visual project for Flash Art.
ON VIEW is a printed and an online section in which Flash Art invites prominent figures of the art world…
Take the song “Honey Pie” by the Beatles and turn it into a string quartet — that would be the…
On Monday, March 2nd, while having breakfast at the Hotel Albert 1er in Toulouse before running the workshop “Exposition collective…
It’s no small feat that the recently appointed director of the Kunsthall Trondheim, Stefanie Hessler, lured one of the most…