We Are Gathered Here to Grieve: Salvaging, Mourning, and ‘Cargo Cult Formalism’ in New York
As New York galleries reopened after the first wave of lockdowns, I noticed a trend across a handful of exhibitions that channeled the alienation…
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Conspiracy, Discounted Histories, and Nostalgia at the Met Breuer
A common analogy for a sprawling, hypnotic, and potentially fruitless search on the Internet is the rabbit hole: dark, long, and terminating in a…
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Crocodile Tears: Ed Atkins and the Crisis of Pathetic Masculinity
Type “Ed Atkins” into Google, and you’ll shortly come face to face with an asshole: not the artist himself – though his smiling visage…
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“All Awareness Becomes Base”: Jens Hoffmann’s Reduction of The Arcades Project
“What, then, is the aura? A strange tissue of space and time: the unique apparition of a distance, however near it may be. To…
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Helen Molesworth Upends the Permanent Hang at MOCA LA
Ruth Asawa spent the summer of 1948 making buttermilk for her teachers, Josef and Anni Albers, in Asheville, North Carolina. She was enrolled at…
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The Subtle Evolution and Marked Aging of Michael Smith’s “Mike”
Michael Smith belongs to the first wave of artists who made extensive use of mass-media imagery and formats in their work. His conceptually-minded peers…
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How To See a Sunset
First you pass through a canyon of glass bank towers, hugging the 110 on either side, concrete overpasses and underpasses, off-ramps and onramps, exits…
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The Troubling Thrill of Invernomuto’s Counter-Ritual
Invernomuto is an Italian duo who bring an uneasy postcolonial funk to contemporary art, somehow managing to capture the over-the-top brio of, say, dub…
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The Suffering Body of 1993: Whatever Happened to the “Abject”
The best way to fuck something up is to give it a body. A voice is killed when it is given a body. Whenever…
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Luc Tuymans Dares Painting to Lose
Luc Tuymans does not shy away from controversy. For his new exhibition at David Zwirner in London, for example, one of his paintings is…
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