Jill Mulleady’s Twilight Hour
Last year, during New York City’s extended lockdown, one of the few works still on public display was a mural hung outside the Whitney…
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“I Don’t Go to Crisis Just Yet”: Four Painters Discuss the Rise of Figurative Painting
What’s the fuss about the new representation? A recent spate of articles and exhibitions have addressed the new representational painting – some generously, others…
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Episode 19: “What’s Changed, and What Should?” with Johanna Fateman
For this episode, Sky Goodden spoke with art writer and musician Johanna Fateman, a regular contributor to The New Yorker, a contributing editor…
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Nick Mauss’s Continental Divide
Nick Mauss is a fan of verre eglomisé, or “distressed hand-gilded mirror,” a phrase that sounds very European, and very gay. The artist takes…
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New Forms for New Crises: The Need for a New Ecological Representation
In his recent polemic Against the Anthropocene, art historian T. J. Demos calls for a shift in the language we use to think through…
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Embarrassed Celebrity: Laurie Simmons’s Feature Debut
Celebrity is truly the public health crisis we deserve. I recently watched a clip of pop star Katy Perry on a Japanese game show,…
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Free to Care Less: On the Cynicism of “Starting a Conversation”
This year’s spate of artworld controversies surrounding cultural appropriation and the ethics of representation suggests that we should sharpen our vocabulary, and find precise…
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Hélio Oiticica’s Journey From Art Visionary to Coke Dealer and Back Again
Hélio Oiticica, one of the most famous figures of Brazil’s mid-century surge of experimental art, once said that his goal was to strike “a…
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