What to Do About Klaus: How Arts Communities Assert Their Agency
As first impressions go, it wasn’t ideal. On the week he was announced as MOCA Los Angeles’s new director, Klaus Biesenbach managed to alienate…
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Think of Harald’s Position: Weighing Szeemann’s Obsessions in L.A.
Harald Szeemann organized a show called Friends and Their Friends in 1969, his last year as chief curator at the Kunsthalle Bern. Selected artists…
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Everybody Knows: Prada Foundation’s Stylish Cynicism
The last time Leonard Cohen appeared on her radio show in 2006, Fresh Air host Terry Gross told him she wanted to play “one…
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“Pacific Standard Time” Writes Overlooked Chicano Artists Back Into Art History
On a Monday morning in May 2015, artist David Avalos stood on the stage of a packed auditorium at the Getty Center in Los…
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Spoiled Roots: Mark Bradford and the Erasure of Community
Artists tasked with filling the US Pavilion at the Venice Biennale have often poked at its resemblance to Monticello, the plantation designed by the…
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Gallerist Virginia Dwan, the Reluctant Legend
“Any ideas of art history or significance were forgotten,” wrote gallerist Virginia Dwan in 1990, remembering the first time she saw one of Yves…
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Isa Genzken Plays with the Artworld’s Insides in “I Love Michael Asher”
“And why is this dedicated to Michael Jackson?” journalist Randy Kennedy asked Isa Genzken last February as both sat on a stage at the…
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Friends Among Us: Reflections on the Value and Risk of Nepotism in Art
Corazon del Sol had just arrived in Lisbon, to an apartment she left in the early 2010s, not long after losing someone close. She…
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Helen Molesworth Upends the Permanent Hang at MOCA LA
Ruth Asawa spent the summer of 1948 making buttermilk for her teachers, Josef and Anni Albers, in Asheville, North Carolina. She was enrolled at…
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