The Incurable Distance of Gustave Caillebotte
Gustave Caillebotte has been curiously canonized: first as Impressionist, then as Realist, then as more of a collector than an artist. Gustave Caillebotte: The…
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The Subtle Evolution and Marked Aging of Michael Smith’s “Mike”
Michael Smith belongs to the first wave of artists who made extensive use of mass-media imagery and formats in their work. His conceptually-minded peers…
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From This Deep and Powerful Sculpture Emerged This Mask: Reading Haegue Yang Through Victor Hugo
How the disfigured transfigure, how the formless become heavenly […] this strange spectacle had a transparence of an avatar. – Victor Hugo, The Man Who…
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Successfully Mining Politics for Feeling: Carolyn Christov-Bakargiev’s Istanbul Biennial
Carolyn Christov-Bakargiev’s Istanbul biennial SALTWATER: A Theory of Thought Forms opened with speeches and song as the artworld gathered to see her first major exhibition…
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A.L. Steiner’s Personal Archive: Underground Heroes, Everyday Lovers, and Global Catastrophe
Underground heroes. I’ve had many. Some of them I stole from the high shelves and long racks of chain bookshops. Novels and art catalogues,…
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The Outsider That Invites Us In: Jordan Maclachlan’s “Ways of Living”
The fantastical meets the hackneyed in Jordan Maclachlan’s expansive Ways of Living, a detailed menagerie of other-worldly creatures, animals, and humans, too. The clay figures that…
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Grey Skies Over Melancholy Bay: Creative Antagonism and Cultural Preservation on the West Coast
A call for action rang out in Vancouver this spring when members of the art community rallied together and voiced opposition to the sited…
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Nothing is Absolute: The Fairy-Winged Failure of “Absolute Beauty: Neoacademicism in Saint Petersburg”
Absolute Beauty’s curators Ekaterina Andreeva and Andrei Khlobystin have tasked themselves with an unsolvable puzzle: how to capture, in a medium-sized exhibition with limited…
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What Gets Revealed When Iris Häussler Finally Owns Her Name
It’s not easy to write about Iris Häussler. I’ve been avoiding it, though desiring it, since her daring He Named Her Amber (2008) subsumed the…
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Bodies Beholden: The Changed Corporeality of David Salle’s New Paintings
In a 2008 commercial for the Swiffer SweeperVac, a conservatively clad woman weaves back and forth with the futuristic device, apparently engaged in an…
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