The Apocalypse is Selective, Not Total: Geoffrey Pugen’s Disanthropic Moment
I clung to my ferocious habits, yet half despised them; I continued my war against civilization, and yet entertained a wish to belong to…
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Learning as Supporting: Alternatives for Futures in Art Education
Artist Eliza Swann moved to Los Angeles in 2013, after the spirit of a raven told her, head west. Swann had been in the…
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Wire and String: Olga Balema’s Sinewy Abjection
What does it mean when the most meaningful thing is damn near nothing at all? Not the antiseptic nothing of Marie Kondo’s puritan minimalism,…
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“So Many Glaring Absences That Were Very Loud to Me”: An Interview with Titus Kaphar
Titus Kaphar came into the limelight soon after Time magazine commissioned him in 2014 to make a painting for one of its “Person of the Year”…
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Abrasion and Collision: On History’s Steps with Robert Rauschenberg, at the Tate
Three quarters of a lifetime ago, in the early spring of 1964, I saw an exhibition at the Whitechapel Art Gallery. Who exactly was…
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Public Art Has to Be Art First and Public Second: A Conversation with Stuart Reid on Union Station
Toronto recently saw Union Station’s protracted and over-budget revitalization project achieve one of its first clear signs of completion, an expansive public art installation…
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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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Robert Rauschenberg and Rachel Harrison Mirror Media and More Across Time
In 1970, a powerful bomb detonated Rodin’s Thinker (1880-81) outside the Cleveland Museum of Art. This edition of the sculpture was a rare version of the existing 25…
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