AA Bronson Breathes New Life as He Raises the White Flag
… it is at once the most meaning symbol of spiritual things … and yet … it is, the intensifying agent in things the…
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Lee Mingwei and His Relations: The Legacy and Deviation of Relational Aesthetics in the East
“Beauty” and “dreamscape” are not buzzwords in today’s critical-art discourse. And yet they describe the Mori Art Museum’s Lee Mingwei and His Relations: The…
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Ben Schumacher Comes of Age at New York’s Bortolami Gallery
It seems like Ben Schumacher took a while to find what he really wanted. The 29-year-old Canadian-born artist studied architecture and art at the University…
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Bad Dream of the Bauhaus: Juan Ortiz-Apuy’s IKEA Fantasia
Entering Juan Ortiz-Apuy’s Out of This Light, Into this Shadow, his second solo exhibition at galerie antoine ertaskiran, the first thing that strikes me…
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The Temptation of Everything in Michael Dudeck’s “Messiah Complex 5.0”
When a contemporary performance artist adopts religion in general as the theme of a work, a few things are likely to occur: the work…
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Luc Tuymans Dares Painting to Lose
Luc Tuymans does not shy away from controversy. For his new exhibition at David Zwirner in London, for example, one of his paintings is…
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What On Kawara’s Analog Wisdom at the Guggenheim Has to Offer a Digital World
In 2009, @on_kawara flickered onto the scene. The Twitter account, whose profile picture is a black square, simply tweeted out once a day, “I…
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Ryan McNamara and the Afterlife of Performance
How does performance art survive? What artifacts, narratives, or documents testify to performance’s occurrence? For the genre’s venerable practitioners from its historic moment of…
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When Does Performing Failure Make Its Own Failure?
How can an artist enact failure without presenting a failed act? How does an artist present an ethos of collapse without making work that…
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The Many Violences of Adel Abdessemed
At first glance, Adel Abdessemed’s charcoal drawings of soldiers do not seem to be up to much. They are large, certainly: two meters in…
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