Through the Looking Glass: Distortion and the Fantasy of a Feminist Nude
Rarely do I find a work of art as disturbing as Louise Bonnet’s innocuously titled painting Figure Holding an Orange (2023). This thirty-square-foot oil-on-linen…
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Colossal Harbingers: The Monumentalism of Art About Climate Change
At the same time as the earth’s atmosphere grows more strange, giant anthropomorphic sculptures have been rising eerily out of the landscape. In the…
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The Personal and Political Wrestle it Out in Kara Walker’s Rebellious New Show
Before we saw the art, we saw the hype: a press release, consisting of two seemingly mismatched parts, which circulated widely and even garnered…
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Mourning Jimmie Durham
In April, I wrote a review of an exhibition at the Hammer Museum at UCLA: “Jimmie Durham: At the Center of the World.” I…
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“A Self-Implicated Search”: Reviewing Robert Linsley’s Final Book
At an artist talk several years ago, I asked Robert Linsley to explain why artworks should be treated as human beings. Seemingly embarrassed, he…
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Battle Hymn of the Republic: The Measure of Kehinde Wiley in the American South
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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Friends Among Us: Reflections on the Value and Risk of Nepotism in Art
Corazon del Sol had just arrived in Lisbon, to an apartment she left in the early 2010s, not long after losing someone close. She…
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