Abrasion and Collision: On History’s Steps with Robert Rauschenberg, at the Tate
Three quarters of a lifetime ago, in the early spring of 1964, I saw an exhibition at the Whitechapel Art Gallery. Who exactly was…
Read MoreThree quarters of a lifetime ago, in the early spring of 1964, I saw an exhibition at the Whitechapel Art Gallery. Who exactly was…
Read MoreLonging we say, because desire is full of endless distances …
Read MoreNothing is more frightening than not knowing where you’re going, but then again nothing can be more satisfying than finding you’ve arrived somewhere without…
Read MoreTented within Manhattan’s industrial piers, and under a cold sweep of wind, the Armory Art Fair rounded out its latest edition (under new director,…
Read MoreSomeone once told me that humans are evolving more flexible thumbs due to our growing propensity for text messaging. I know that this is…
Read MoreAt an artist talk several years ago, I asked Robert Linsley to explain why artworks should be treated as human beings. Seemingly embarrassed, he…
Read MoreLike teeth crowding a dark mouth, Jasmine Reimer’s Small Obstructions pushes crude objects up through a dusky space – and then pocks them with…
Read MoreThere is very little consent to be found, for example, in the fact that Flaubert’s encounter with an Egyptian courtesan produced a widely influential…
Read MoreHadar Kleiman’s brainy, seductive solo show at R/SF Projects in San Francisco reproduces sites of pure consumerism in a playful, complicit kind of late-capitalist…
Read MoreMy personal experience [is that] intranational tourism is radically constricting, and humbling in the hardest way – hostile to my fantasy of being a…
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