Essays

Post image for Reconstructing the Legacy of Surrealism

A Surrealism of hokey séances and dripping clocks has long superseded the movement’s political and conceptual radicality in the contemporary imagination.

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Police confiscate works by Dan Park outside the Rönnquist og Rönnquist gallery, Malmö, Sweden

The imprisonment of artists and the shutting down of galleries by government agents are incidents we associate with North Korea, Cuba, and Saudi Arabia, not a progressive Scandinavian democracy.

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Post image for At the Guggenheim, Three Critical Takes on Latin America

Let’s start by saying, just in case it’s not obvious, that there’s something nearly impossible about conceptualizing and mounting a show as wide in its thematic and geographic scope as Under the Same Sun: Art from Latin America Today, curated by Pablo León de la Barra.

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Post image for Sources of Harm: Notes on the Alternative Artworld

Within and beyond the American artworld, the politics of race have assumed a central position this year with a degree of ugliness that feels particularly virulent.

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Daniel Berset,

“Sculpture is something you bump into when you back up to look at a painting,” someone famously quipped once — maybe Ad Reinhardt or Barnett Newman.

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Daniel Dezeuze,

For those who have been watching the critical misfortunes of Supports/Surfaces on the New York art scene over the years, it is a welcome surprise that, after decades of relative indifference, the movement finally seems to be getting some deserved attention.

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Tullio Crali,

The affection, if not outright idolatry, the Futurists held for machines and speed initially focused on automobiles and locomotives, but in the early 1930s artists like Tullio Crali, Gerardo Dottori, Tato (Guglielmo Sansoni), and Giacomo Balla turned their attentions skyward to produce glorifying images of planes.

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Essays

A Documentarian of Memory

by Michael Blum on August 21, 2014

Chris Marker, still from 'Level Five'

Chris Marker’s death two years ago, on the day of his 91st birthday, heralded a surge of renewed interest in the enigmatic French filmmaker. With an impressive retrospective centered on a digital restoration of the film Level Five (1997), the Brooklyn Academy of Music presses on with the project of rehabilitating the fringes of Marker’s career.

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Jeff Koons,

Recently, I read a statement by Kenneth Turan, film critic for the LA Times, that struck a chord. As a poet and art critic, it is impossible to ignore the reams of exaggeration I am bombarded with on a daily basis, from blurbs attesting to the gorgeous mastery to be found in a young poet’s first book to the unrivaled brilliance to be encountered in an artist’s most recent exhibition.

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Essays

Silence Is Enough: On Emily Jacir

by Cynthia Cruz on August 7, 2014

Detail of work in Emily Jacir, 'ex libris' (2010–12)

Silenced, erased, censored — how then to represent this loss, this nothingness?

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