Invasion from Mars: On the Charged Personae of Shelly Mars
Shelly Mars has always been interested in what we should not talk about, and as a result, she has for the past forty years…
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Reviewing the Reviews: The 2024 Whitney Biennial
As the longest-running institutional survey of contemporary American art, the Whitney Biennial never fails to create “discourse.” Each iteration makes a claim about the…
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Goodbye to Berlin
We’re learning to live with somebody’s depression, And I don’t want to live with somebody’s depression —David Bowie, “Fantastic Voyage” When I arrived in…
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Romantic and Brawling: On Four Chicago Artists
Chicago has never really recovered from Imagism. That local explosion—whose blast radius stretched from roughly the late 1940s through the mid-1970s—gave the city’s art…
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Pacita Abad Sees the Soul of an Artifact
Pacita Abad, the Filipina artist who roamed the world like a traveling bard, was twenty-four when she left home in 1970. By the time…
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Exposing the Contradictions: Jewish Artists Dismantling Germany’s Nationalist Narrative
Late last year, the artist Adam Broomberg again found himself punished for speaking out in support of Palestinian liberation. Karlsruhe University of Arts and…
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Radical Looking: Newly Seeing Art With My Baby
When our son was nine and a half weeks old and the only place we had managed to take him was the pediatrician’s office,…
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REDCAT’s Rediscovery of the Iconic Feminist Art Program
The Feminist Art Program (1970–1975): Cycles of Collectivity, which recently closed at REDCAT (an art center run by CalArts), could easily have been called Cycles…
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Loosening the Stays
Bowdoin College is not a place particularly accommodating to weirdos—or at least it wasn’t when I attended lo these many years ago. Perhaps things have changed…
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Changing the Ground: Amy Sillman Talks About Painting
Amy Sillman is a highly regarded painter, writer, and curator based in New York. One might regard her as a consummate insider. The artist…
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