“I Left This for a Reason”: An Interview with Amy Fung
The truth is, I’m bored by all the ways I hate art criticism – its pitfalls are too obvious to want to hash out,…
Read MoreDavid Zwirner
Depleting Felix Gonzalez-Torres
In recent weeks, piles of fortune cookies materialized around the world – in art spaces, restaurants, and private homes in Dubai, Beijing, Montevideo, and…
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Episode 14: “What Makes Great Art?” with Jarrett Earnest
For this month’s episode, towards our season’s question, “what makes great art?”, Sky Goodden spoke with artist, curator, and writer Jarrett Earnest. Earnest…
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Love and Loneliness: Queering Modernisms in Figurative Painting
I work on 22nd Street in the Chelsea gallery district of Manhattan, so it was easy to notice the painting. Louis Fratino’s I keep…
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The Archive is a Set of Relations, Not a Record of History: Thomas Ruff at David Zwirner
Pockmarked moons and missiles at launch, astronauts in profile, and dark-suited men eying fighter jets in take-off. Scrawled archival notes map the surface of…
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The Inequality of Contemporary Art
In an 1854 painting called The Meeting, a young Gustave Courbet depicted himself encountering a rich art patron and his servant. Such was the…
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“It‘s Like Deciding to Cut Off a Leg and Keep Walking”: Jessica Bradley On Her Controversial Closure
I first sat down with Jessica Bradley in late July, hoping to discuss her recently shuttered gallery. I was, at that time, wanting what…
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Labor Lost: Okwui Enwezor’s Artworld Biennale
Consuming visual art is conspicuously, if oddly, social. You are inherently distracted, aware of watching and being watched, even, perhaps especially, in the darkened…
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Independent Projects Extends on the “Curated Fair,” with Mixed Results
An infamous art historical tale goes a little something like this. In April of 1917 the Society of Independent Artists was preparing for its…
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