The Alchemist: A Studio Visit with Sadie Weis
It is often said of desks and other work spaces that their appearance mirrors the mind of the person who uses said spaces –…
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Tools for Redress: A Century of Political Art Between “Zero Tolerance” and “The Left Front”
In the fall of 1929, the same month as the collapse of the American stock market, editors from the leftist magazine New Masses met…
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“I Don’t Give a Shit About Authenticity”: Sholem Krishtalka Performs His Reveal in “A Berlin Diary”
The Schmidt & Handrup Berlin gallery is a bare white rectangle illuminated by tall spotless casement windows trimmed in matching chalk white. Thin bald…
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Retrospective: Pollock in LIFE
Journalists follow a time-tested format. An example of this occurs in what is perhaps the most important article about art published in any magazine,…
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Interview: The Difficulty in Distilling Suzy Lake
Suzy Lake occupies a unique position in contemporary art history, having both helmed and contributed to the advent and advancement of at least three…
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Is the iPhone a Blessing or a Curse for Art?
In 1951, Hans Namuth first published his photos of Jackson Pollock at work. They were meant as documents of the famed artist’s process. But…
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Interview: Venice Biennale Curator Okwui Enwezor On “All the World’s Futures” and the Angel of History
During the London presentation of the 56th Venice Biennale, “All the World’s Futures,” curator Okwui Enwezor talked a lot about the past. H referenced…
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“What Instruments Have We?”: A Conversation with Emily Roysdon
“1. I believe in an alchemy of time. That a certain combination of words, a length of inaction, a discomposed room, or with some…
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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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How to Start an Art School
Why would you even want to? We want to be makers, not bureaucrats or lecturers. But after a dozen years of making, maybe you…
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