“A Multiculti Blitzkrieg”: On the Ascendance of the Curator of Color
Yoshio Taniguchi’s 2004 expansion of the Museum of Modern Art integrated the glass buildings on either side of the museum so that when you…
Read MoreRoberta Smith
Bad Reviews
I took a community-college workshop five years ago with Kirk Stoller, an artist whose work I could look at forever. Kirk used carpentry tailings…
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The Final Fart: A Meditation on Hannah Wilke’s Last Work
Hannah Wilke knew what a death mask was. She knew that a death mask is an event, not an object. She knew that the…
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Depleting Felix Gonzalez-Torres
In recent weeks, piles of fortune cookies materialized around the world – in art spaces, restaurants, and private homes in Dubai, Beijing, Montevideo, and…
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A Long, Dull Shadow: Georg Baselitz’s Legacy of Misogyny
The erection that introduces Baselitz: Six Decades seems an appropriate prelude to what follows. That it protrudes like Pinocchio’s nose from a disproportionately small…
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In Search of Himself: Sky Glabush’s Mimetic Practice Drifts Into the Neo-Modernist Trend
“Artists don’t own the meaning of their work.” New York Times critic Roberta Smith issued this controversial and affecting line to a full auditorium…
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The Future of Online Arts Publishing: A Roundtable with artnet News, Momus, and Temporary Art Review
Everything about publishing is changing, including art criticism and news. What sort of art coverage we consume, how we consume it, and on what…
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Bodies Beholden: The Changed Corporeality of David Salle’s New Paintings
In a 2008 commercial for the Swiffer SweeperVac, a conservatively clad woman weaves back and forth with the futuristic device, apparently engaged in an…
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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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