“Liberation and Consumption”: Surveying Korean Art in the ’90s
It’s intimidating to absorb an institutional exhibition that spans a decade of a nation’s art scene, especially as an outsider. So a natural point…
Read MoreIt’s intimidating to absorb an institutional exhibition that spans a decade of a nation’s art scene, especially as an outsider. So a natural point…
Read MoreAfter Trump was elected, the first photo I posted to Instagram was a view of glass baubles foregrounding yellow leaves and blue sky between…
Read MoreThe Montreal Museum of Fine Arts can’t send me Robert Mapplethorpe’s most explicit and notorious photographs, despite exhibiting them. It doesn’t have the copyright…
Read MoreIs there a color more indexical of melancholy than blue-grey? It is the color of fog, the color of nature suffused with an intelligence;…
Read MoreA woman strides down the sidewalk in anarchic ecstasy, smashing one car window after another with an oversized red flower. The sound of glass…
Read MoreMy first trip to Los Angeles started ten days after an election that diminished our assurance in something like a common good. I booked…
Read MoreDuring a month of dispiriting world news, the work first struck me as a room in mourning: an emptiness indifferent to being filled. White…
Read MoreIf I ventured in the slipstream Between the viaducts of your dream Where immobile steel rims crack And the ditch in the back roads…
Read MorePhysically light, Libertad, Igualdad, Fatalidad (2016) is not underweight on ambition or conceptual ballast. Its creator, Chilean artist Claudio Correa, installed a real-scale brigantine…
Read More“It’s in hell where solidarity is important, not in heaven.” – John Berger, Seasons in Quincy Media veracity, it seems clear, has dissolved into…
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