When Facebook completes its appropriation of traditional media, where will we find the evidence of our suffering?
It’s not MoMA’s fault that Louise Lawler’s work changes within their context, but they fail to prove her “institutional critique” has been addressed, rather than just subsumed.
The fundamental question of Kitty Green’s documentary is, “What did these actors believe they were taking part in?
How the function of art criticism changes in the age of Trump, and what a more politically engaged criticism might look like.
Inside one artist’s Kickstarter to fund G.W. Bush-style paintings of the Trump Presidency.
Elsewhere Is a Negative Mirror ran in London from Oct 6–Dec 15, 2016, and featured work by Clement Valla, Griselda San Martin, Netta Laufer, and more.
The vultus is the face that lies latent behind every image of a person.
The paintings are maps of the incessant activity between light and surface.
On the artist’s “Playgrounds” photographs.
Longread on Thomas Ruff’s “Jpegs,” art and media after 9/11, and the construction of value by means of controlling access to information.
Where relations are re-ordered, images are made separate from the world.
On the decreasing necessity of the human hand in art production.
Thomas Struth and transcendence.
The greatest fear about crime is that it will spread. Not that it could happen to you, but that it could come to you.
After my grandmother’s death from debilitating mental illness, what I remembered most were her eyes.
Our tendency to force a narrative delegitimizes the work by denying its participation in formalist art production.
Several visits with El Greco’s Christ Healing the Blind.
Kounellis showcases the imperialistic tendency to take all that’s worth seeing and reduce it to an exhibit in a museum.
Salgado shows milieu in the very flesh of its inhabitants, always maintaining place and personage together.
Tomás Saraceno presents an arachnean vision of utopia.
In the fall of 1929, editors from New Masses formed a federation of artists, writers, and intellectuals.
Alfredo Jaar’s memorial for Chilean desaparecidos speaks to universal complicity.
The Outsider Art Fair came to Manhattan in January, but we have to wonder what exactly are we outside of?
Monumental canvases almost forgotten.
Jenny Holzer's Dust Paintings doesn't manage to overcome the politics of its subject matter.
The Pulitzer-Prize winning novelist waited until he was eighty to write his first film. Was it too late?
For many tattoo artists, their own body is their most important canvas.
It doesn't matter that it's wrong; it matters that it suffers the same problem it condemns.
If Cormac McCarthy's gruesome novel Blood Meridian ever makes it to the big screen, violence won't be what kills it.