Pierre Huyghe’s Airless Fantasy at Hauser & Wirth
Here’s my beef with Pierre Huyghe: the more his work dazzles his viewers with theatrical special effects, the more his underlying motivations are lost…
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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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An Italian Futurist Out of Step with the Rest: Salvatore Scarpitta
Salvatore Scarpitta’s solo show at the Hirschhorn Gallery, Traveler, includes two race cars, a burnt-out sled, canvases that had been slashed, layered, and strung…
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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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How Curating Took Over the World: David Balzer’s Game-Changing “Curationism”
No doubt you’ve noticed it: from museums to film festivals, boutiques to restaurants, and basically everywhere on the internet, people are curating. Once the…
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The Miserable Quips of Brad Phillips
Love makes love, hate makes hate, and disdain has a strange way of eliciting both. Brad Phillips’s show I Didn’t Retire, I Surrendered, a…
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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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