Reviewing the Reviews: Documenta 15
The coverage and criticism of Documenta 15 was an experience in itself, whether or not you made it to Kassel this year. This edition…
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Correcting for the Bawdy Rage of Paula Rego
The New York Times review of Paula Rego’s Tate Britain retrospective, published on July 7, begins: “Paula Rego is the kind of artist who paints a…
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“Proudly Broken and Refusing to ‘Fit'”: Legacy Russell on “Glitch Feminism”
Legacy Russell doesn’t do things IRL. Throughout her writing, you’ll find instead the term “AFK” (Away From Keyboard). As the mobile internet became ubiquitous in…
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With Sharper Tools: Defending the National Endowment for the Arts
The Heritage Foundation and conservative groups like it have been trying to kill the National Endowment for the Arts for decades. Last month, the Trump…
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How Protest Works Now: Understanding “The Tear Gas Biennial” and its Historic Effect
In the pantheon of texts about art, there are very, very few that have had the impact of “The Tear Gas Biennial.” Published online…
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Where Do We Go From Here? Dubious Wealth and Ethical Funding
In the popular imagination, calling someone a “modern Medici” is a synonym for “visionary patron of the arts.” That association itself shows how much…
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“I’m Staying Away From Trump as Subject Matter”: Howardena Pindell On Refusal and Evolution
The American artist Howardena Pindell arrived in London for her first solo show in the UK just as the 45th US President landed for…
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Invisible Labor and Black Burnout
One might think that the recent swell of interest in black art would have eased some of the burdens faced by those who have…
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“So Many Glaring Absences That Were Very Loud to Me”: An Interview with Titus Kaphar
Titus Kaphar came into the limelight soon after Time magazine commissioned him in 2014 to make a painting for one of its “Person of the Year”…
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“Velvet Buzzsaw” Should Terrify the Artworld
Velvet Buzzsaw, launching on Netflix tomorrow, had me hooked from the first line uttered by its protagonist. In the opening scene, we see Jake Gyllenhaal’s…
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