Rachel Harrison’s acidic colors, faux-finish surfaces, and otherwise unseemly media screech like saboteurs of good taste. Unlike a certain nascent presidential candidate, however, they…
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It is a very small, and no doubt unintentional victory for the curatorial concept of Manifesta 11: What People Do for Money-Some Joint Ventures…
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How much homework should we expect to slog through, en route to art? One could surmise “A lot,” according to Jean Marie Straub and…
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Guy Maddin’s latest exhibition finds the artist in a splendid mood, if preoccupied by the subtle, inescapable persistence of his loneliness. Maddin and his…
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Though history is said to have been written by the victors, one might be forgiven for casting doubt on this particular adage in Richmond,…
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But when men do not forget what can be forgotten, but forget what cannot be forgotten—that may be called true forgetting. – Zhuangzi A…
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It’s tempting to consider Kristine Moran’s most recent work as a pivot-point in an ascendency from abstraction to figuration. Figures, indeed, are emerging from…
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As subject matter, the debased utopia is low-hanging fruit. Every continent has a few, and they emanate intoxicating aromas of corrupted idealism. In making…
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Ask yourself, What kind of happiness do I feel with this music or this picture? – Agnes Martin, “Beauty is the Mystery of Life”…
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What happens to history in a black hole? Abigail DeVille’s exhibition Only When It’s Dark Enough Can You See the Stars is a dense,…
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