Ways of Seeing John Berger, in Two Recent Documentaries
“It’s in hell where solidarity is important, not in heaven.” – John Berger, Seasons in Quincy Media veracity, it seems clear, has dissolved into…
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Isa Genzken Plays with the Artworld’s Insides in “I Love Michael Asher”
“And why is this dedicated to Michael Jackson?” journalist Randy Kennedy asked Isa Genzken last February as both sat on a stage at the…
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How to Hang a Picture
A year after losing your apartment to a developer’s wrecking ball, after unpacking all the battered paperback and dented pots, the thrift-store nightstands and…
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Sara Cwynar Prepares Herself to Turn
Sara Cwynar is just young enough to speak the mother-tongue of post-photography. Certainly her work assumes the dimensionality of an exploded medium and exercises…
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Acting Out: The Visibility of Blackness in the Work of Martine Syms
Hair flicks, flirtatious glances, side eye. Hands beckoning and clapping, a finger wagging in rebuke. Body language is highlighted in Borrowed Lady, an exhibition…
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Weird Science: William Kentridge Deepens Time at Whitechapel
Normal science, wrote Thomas Kuhn, is the way most scientists spend their time: the quotidian task of theorizing, observing, experimenting – puzzle solving, in…
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Romancing the Stone: Three Berlin Exhibitions Commune with the Ancients
The past vexes us. Longing to feel connected to it, those with money tour the world’s ancient ruins searching antediluvian kin. Meanwhile in Eurocentric contemporary…
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A Culture War is Coming
Very early on November 9 – about a minute after permanent midnight – the stunned responses started rolling in. “WTF are you doing over…
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A House Divided: Theaster Gates’s Confused Beat at the AGO
Touted as “a new immersive work,” Theaster Gates‘s first museum solo exhibition – self-knowingly titled How to Build a House Museum, and recently on show…
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Clive Holden Grounds the Digital in Aura
I spend most of my life on the internet. I work here, I entertain myself here; I distract, delay, advance, compose, and channel myself…
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