Bad Dream of the Bauhaus: Juan Ortiz-Apuy’s IKEA Fantasia
Entering Juan Ortiz-Apuy’s Out of This Light, Into this Shadow, his second solo exhibition at galerie antoine ertaskiran, the first thing that strikes me…
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The Temptation of Everything in Michael Dudeck’s “Messiah Complex 5.0”
When a contemporary performance artist adopts religion in general as the theme of a work, a few things are likely to occur: the work…
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How to Start an Art School
Why would you even want to? We want to be makers, not bureaucrats or lecturers. But after a dozen years of making, maybe you…
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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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What On Kawara’s Analog Wisdom at the Guggenheim Has to Offer a Digital World
In 2009, @on_kawara flickered onto the scene. The Twitter account, whose profile picture is a black square, simply tweeted out once a day, “I…
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When Does Performing Failure Make Its Own Failure?
How can an artist enact failure without presenting a failed act? How does an artist present an ethos of collapse without making work that…
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Villa Toronto’s Failure and Provocation: How Do We Invite the Outside In?
In order to enter the Union Station’s Great Hall – a stunning keystone of Toronto’s historic architecture, with soaring coffered ceilings and heritage marble…
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Can Abstract Art Still Be Radical?
Is abstract art, especially the geometric kind, radical anymore? This is the big question that vibrates through the Whitechapel Gallery’s rich and jam-packed history…
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Interview: Pedro Reyes Reclaims the Politics in Art
Mexican artist Pedro Reyes assumes a mantel that feels at once familiar and utterly unique. In a contemporary-art moment that is pronounced for its lateral reach…
Read MoreWhy I Believe New York’s Art Scene Is Doomed
This is an article about art and gentrification, the inescapable topic. I have something new to add—that I think we may be coming to the…
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