Tadej Pogačar’s Persistent Perversion of Institutional Critique
Tadej Pogačar is a Slovenian artist who has been making work for over thirty years. For much of that period he has operated under…
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Criticism Project Altered Twice: A Dual Response to Xavier Le Roy’s Retrospective
I wanted to make “the fourth wall” no longer a mirror, but a membrane that makes the spectator aware of this coming and going…
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A Ghostly Form: Scrap Metal Embraces Presence, Absence, and the Space Between
Emerging curator Rui Amaral is troubling the third rail of contemporary art. He’s been fingering the margins of what’s visible, the all-important link to…
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Brooklyn Is Everything: Artworlds Apart in a Gentrified Borough
The story of gentrification is both too complicated and too simple to be told well. There’s no proper shape for it, nothing to support…
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Russian Collective Chto Delat Heads Straight at the Violence of the Contemporary
Chto Delat is a Russian collective of artists; founded in 2003, they are one of the most respected political art groups working today. Their…
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Time, Travel, and Trial in the Work of Jason de Haan
Sitting down to read an epic novel is to relive an epoch, embark on a long journey – it’s not enough to sit back and…
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Looking At Us Looking At You: Looking Down on Isa Genzken
Isa Genzken is one of the most respected German artists working today, whose brittle sculptures and shiny, glittery collages document a world of trash…
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The Problematized Fun of Cosima von Bonin
Cosima von Bonin is an artist who won’t let go. Her new exhibition at Vienna’s MUMOK is an explosion of stuffed animals and chicks…
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“He Did Not Ring My Head Like a Bell”: Reviewing Geoffrey Farmer
Kathy Acker rang my head like a bell. It happened in the Spring of 1990, while she was reading out loud, a passage to…
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Independent Projects Extends on the “Curated Fair,” with Mixed Results
An infamous art historical tale goes a little something like this. In April of 1917 the Society of Independent Artists was preparing for its…
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