Absolute Beauty’s curators Ekaterina Andreeva and Andrei Khlobystin have tasked themselves with an unsolvable puzzle: how to capture, in a medium-sized exhibition with limited…
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It’s not easy to write about Iris Häussler. I’ve been avoiding it, though desiring it, since her daring He Named Her Amber (2008) subsumed the…
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American artist Glenn Ligón is bringing together artworks spanning decades, continents, and themes that closely relate to his work with race and gender in post-war America….
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In a 2008 commercial for the Swiffer SweeperVac, a conservatively clad woman weaves back and forth with the futuristic device, apparently engaged in an…
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Agnes Martin began her lecture at Yale University with a deep breath … slowly, in and out. It was the mid-1970s, and Martin (1912–2004) was…
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Dear Dick, I’m wondering why every act that narrated female lived experience in the ‘70s has been read only as “collaboration” and “feminist.” The…
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It’s a media cliché that more has changed in the last ten years in journalism than in the century before that. Yesterday’s big news…
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Four square all light sheer white blank planes all gone from mind. Never was but grey air timeless no sound figment the passing light….
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It’s easy to ignore pop culture’s messages. Too easy. Popular culture delivers its ideas and manifestos with such ham-fisted, careless presentation that the first…
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The most grievous problem with post-internet art has been its nebulousness. If, as Saelan Twerdy recently claimed in Momus, post-internet art may have reached…
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