The Center Holds: Bruce High Quality Foundation’s Accidental Gulf Nativism
Every first of May, as people around the world take to the streets to commemorate labor struggles, members of France’s Front National party (FN)…
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A Parasitic ‘joie de vivre’ in “Viva Arte Viva”
When a curator chooses a title as desperately bubbly as Viva Arte Viva, something is clearly amiss. “Live art live!” – the 57th Venice…
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Invasiveness and Indigeneity: Alicia Escott’s Complicit Critique
An iconography of flora and fauna local to the Sunset District of San Francisco administers a powerful critique, in Alicia Escott’s current exhibition. Using…
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What Happened to the Anthropocene? Searching the 57th Venice Biennale for Signs of Destruction
There’s no greater risk to our species than the one posed by humankind’s impact on the environment. It’s unnerving how familiar this adage has…
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“Science Truth” and Fearless Feminism in Lynn Hershman Leeson’s “Civic Radar”
Recently, I woke up with a bump on my pinkie finger. I thought it was an insect bite. After a few days, I realized…
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Gallerist Virginia Dwan, the Reluctant Legend
“Any ideas of art history or significance were forgotten,” wrote gallerist Virginia Dwan in 1990, remembering the first time she saw one of Yves…
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Modernist Frederick Kiesler is “Rediscovered” Between Abstraction and Compromise
In 1990, Berlin’s Potsdamer Platz was a wasteland. German partition had sent the square back in time, making space for “The City of the…
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The Inevitable Cannibalization of Institutional Critique: Surveying Michael Asher and Christopher D’Arcangelo in L.A.
Emma Goldman described anarchism as “a living force in the affairs of our life, constantly creating new conditions,” refusing a “theory of the future…
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Hannah Black Transcends the Dana Schutz Controversy with a Slow-Burn MoMA PS1 Performance
The beautiful weather and the Spring Open House invitation – highlighting some new and promising exhibitions featuring works by Ian Cheng, Maureen Gallace, and Tomáš…
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What Kind of Criticism Do We Need Now? Coming to Terms with Teju Cole’s “Known and Strange Things”
“We look at them for the way they cooperate with the imagination, the way they contain what cannot otherwise be accommodated, and the…
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