Emergence and Ruin in Carol Wainio
Carol Wainio is a wonderful and troubling painter. For decades, a constant inventiveness in the ways of handling paint, of creating figures and spaces, has…
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Does the Right Hand Cover for the Left?: The Case of the Remai Modern and Its Errant Board
I take no pleasure in realizing the unpleasant aspects of something I’d otherwise be very proud of. In this case, the object of pride…
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The State of the Artworld, Explained
The Metropolitan Museum of Art in Manhattan is opening its new contemporary art initiative, taking over the old Whitney Museum of American Art’s building…
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To Cloak or Reveal: Ryan Gander on the Question That Dogs Him
At the end of our interview Ryan Gander is suggesting we meet again, “Same time next week?” He’s laughing. I’ve involuntarily submitted myself to…
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The Art of Protest
The relationship between art and protest has never been a stable one. It’s also a relation that perhaps suffers from being posed in the…
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“I Think We’re Changing Into a Tribal Nation”: A Conversation with Dave Hickey on “25 Women”
When you have as many critics as Dave Hickey, you don’t hope to publish a book quietly so much as attract the right kind…
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The Sadean Woman: Tricia Middleton and the Violence of Art
Tricia Middleton came late to showing in commercial galleries. In a career spanning fifteen years, her late-2014 exhibition at Jessica Bradley Gallery in Toronto…
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The Hermetic Lyricism of Anri Sala
“When I first showed the city footage in Poughkeepsie, [artist] Liam Gillick said to me, ‘Anri, tell me the truth. Tell me that this…
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The Slow, Meditative Optimism of Jillian Kay Ross
Jillian Kay Ross doesn’t make conceptual paintings. She doesn’t question the fundamentals of her medium, or speak critically to any historical lineage. She isn’t…
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Back to the Future: The Social-Activist Architecture of Moshe Safdie
A recent exhibition at the National Academy Museum in New York raised the question Moshe Safdie (born 1938) has wrestled with his whole career. Is…
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