Spearheaded by John Yau, Thomas Micchelli, Claudia La Rocco and Albert Mobilio
This week, photos in museums, why art critics matter, a street art site that “steals”, the East Village Eye goes online, political economy, a rapper’s run in with Marxism on Twitter, what American voters think of hipsters and more …
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If we can now grow a hamburger in a test tube, as the New York Times reported on Tuesday, we will still be able to get to the meat of the matter?
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In part 1 of this month, reviews of She & Him, the Yeah Yeah Yeahs, Satinder Sartaaj, and Lady Antebellum.
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Don Voisine’s oil paintings on wood brim with all kinds of tensions: between flatness and spatiality; stasis and torque; containment and expansion; light and dark; tonal gradations and sharp contrasts; matte and glossy surfaces; transparency and solidity. Once you begin noticing the variety of stresses animating these paintings, more start to emerge — that’s how finely and tightly tuned they are.
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I have long admired John Walker’s work for its unique combination of tough materialism and romantic lyricism. I recently met him in his studio at Boston University, where he is the head of the MFA program. My visit with Walker happened to take place on the Thursday after the Boston Marathon tragedy, and I spent Friday’s citywide lockdown with painters Gideon Bok and Meghan Brady.
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This is an essay about communication and exchange between painters. It has to do with developing a shared language, and with exploring the nature and extent of our theoretical basis in painting.
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Anselm Kiefer has scaled back, way back, from his preposterously overproduced previous solo at Gagosian, but with Kiefer we are always talking about relative degrees of gigantism.
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It’s pollen season, big time, and Weekend Words turns its attention back to bees.
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Before we settle into our plush, faux-velvet seats, share bags of popcorn and watch the latest film about zombies who managed to escape from Pittsburgh and its parking lots, does anyone out there dream of making a movie about Jeffrey Dahmer starring Brad Pitt or James Franco?
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“Multiple paper sizes and stocks bound together with a spiral wire and wrapped between thick chipboard covers.” So reads the highly utilitarian description of Ben Jones’ new book in its accompanying press release, but it’s also as good a definition of the different incarnations of “manliness”—the purported subject of the volume—as anything to be found on its carnation pink and lime green pages.
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Don't You Understand, I'm an Artist!
Dolphins Rape People?
Watch an Artist Have a Meltdown and Destroy a Canvas With Panache
The Whitney Museum's New Logo Goes Nowhere
Watch Out, Art World: Amazon Is About to Start Selling Art
Can Rectal Realism (and Other 1970s Art) Inspire?
A View from the Easel
The Bermuda Triangle of Art
Overheard in the Art World
Images Worth a Dozen Words
Beer with a Painter: John Walker
The Nazi Ties of Joseph Beuys
