A Theory of Everything: On the State of Theory and Criticism (Part One)
Given that I’ve chosen to contribute to a platform that boasts “a return to art criticism,” it would be worth considering what that might…
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The Commons of Aggregation: The Case for Net Art as Public Art
Let me begin with an art historical chestnut — a 1855 painting by the French painter Gustave Courbet called The Artist’s Studio, A Real…
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Feature Art Fair’s Focus on the Art, and the Currents That Emerged
The latest fair to arrive to Canada’s growing art market was named Feature, but could have been titled Focus. With only twenty-three galleries, and…
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Working with the Material at Hand: A Roundtable on Regionalism
Since the London Regionalists’ first wave of activity in the early 1960s, it’s become clear that the movement wasn’t isolated to a single generation…
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Nice Things: The Pleasure Principle in Jeff Koons and Cory Arcangel
If you’ve taken the New York subway in the last couple of months, you’ve probably seen advertisements for the Whitney Museum’s Jeff Koons exhibition….
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Fossils
Enthusiasts probing the furrows of British art are currently liable to stumble across one of two types of fossils. One, London’s major galleries and…
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How to Write About Contemporary Art
First, don’t. Don’t intend to write about art at all. Write about something else. Go harrowingly into debt for an MFA in creative writing…
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Interview: Ben Davis on Marxism, Criticism, and Contemporary Art
Ben Davis is among the most keenly-read young critics working in the field today. His analyses of the contemporary artworld – both its machinations…
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Rural Exhibitions: Their Gambit and Their Trope
The artworld’s proclivity for travel requires little explication. Between biennials, fairs, historical pilgrimages, and emerging art destinations, the dedicated art viewer crosses continents to…
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Frank Mädler’s Fleeting Capture
Before the Polaroid very nearly went extinct, five years ago, there was something about the medium that, poignantly, already suggested its devolution. Iconic in…
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