Girls Gone Viral: Anicka Yi’s Pathological Feminism
Pathological feminism – the premise informing Anicka Yi’s current exhibition at The Kitchen in New York – is perversely seductive. Yi, the show’s press…
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Aiming to Please: Division Gallery Surveys Post-Internet Entertainment
In the year 2000, curator Phillippe Vergne staged an exhibition at the Walker Art Center in Minneapolis titled Let’s Entertain: Life’s Guilty Pleasures. It…
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The Anxiety of Influence: Jack Bush at the National Gallery
“I feel sorry for Jack Bush,” said an artist acquaintance of mine when I told him about the National Gallery of Canada’s recent, excellent…
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MoMA “Steps on a Nail” with Bad Björk Show
There has been an immense volcano building up under the Museum of Modern Art for some time, a well of rage from old-school art…
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The Deadening Gaze of Tal R
Most things, if and when they return from the dead, are dried-out and stiff. However when several outmoded artistic styles turn up in the…
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The Figure is Back in New Museum Triennial
The figure is back. This is the main thesis according to New Museum’s Triennial “Surround Audience,” which offers a near-deafening obsession with the self….
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Janet Werner’s Truer Subject, the Women Unseen
It’s interesting that Janet Werner graduated in the same class as John Currin. It shouldn’t be remarkable, as they’re both statured and fully-arrived painters….
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The Contemporary Erotics of Laurie Kang
Sometimes a cliché is the only way to describe an experience so fundamentally mood-inducing that it illuminates the very reason we do what we…
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AA Bronson Breathes New Life as He Raises the White Flag
… it is at once the most meaning symbol of spiritual things … and yet … it is, the intensifying agent in things the…
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Lee Mingwei and His Relations: The Legacy and Deviation of Relational Aesthetics in the East
“Beauty” and “dreamscape” are not buzzwords in today’s critical-art discourse. And yet they describe the Mori Art Museum’s Lee Mingwei and His Relations: The…
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