Weekend


Spearheaded by John Yau, Thomas Micchelli, and Albert Mobilio

MusicWeekend

Bland in an Interesting Way

by Lucas Fagen on October 19, 2014

Post image for Bland in an Interesting Way

If the War on Drugs’s Lost in the Dream is a brilliant soft-pop masterpiece, a theory I am perfectly willing to entertain, it is brilliant in a way more suited to a platinum bestseller than to a critics’ record.

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GalleriesWeekend

Rainy Day Woman: Jane Wilson Re-Visions Reality

by Tim Keane on October 18, 2014

Jane Wilson in her studio, 2095 Broadway, New York. January 8, 1999

Some sixty years ago, when she was a young artist involved in the downtown New York City scene, Jane Wilson stopped trying to be an Abstract Expressionist.

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Robert Gober. “Untitled” (2005-2006)

The sprawling, high-ceilinged contemporary art gallery on the second floor of the Museum of Modern Art might have been built for Richard Serra, but Robert Gober owns it.

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Jude Tallichet,

It’s a full-size Hyundai Accent, circa 2000, collapsed in the middle of the gallery floor. Or rather, the shell of one, bone-white and cracked apart, like a melting iceberg or a flash-frozen relic from the next ice age.

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ReactorWeekend

Required Reading

by Hrag Vartanian on October 12, 2014

Zaha Hadid has unveiled her designs for a new Cambodian institution

This week, a new Islamic museum, a mysterious art dealer, protest objects, Palestinian food controversy, art of coding, kangaroos boxing, and more.

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ReactorWeekend

Weekend Words: Tax

by Weekend Editors on October 12, 2014

Marinus van Reymerswaele,

Good news from the IRS: you can be an artist even if you don’t make all that much money at it. Isn’t that what we needed to hear?

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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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Ebony G. Patterson,

KINGSTON, Jamaica — Not too long ago, Jamaica’s tourism-promotion board hired some advertising wizards to cook up a clever slogan to help sell the island’s sunny, Caribbean charms to vacationers from North America. They came up with “We’re more than a beach. We’re a country.”

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John Walker,

Disclosure, in John Walker’s paintings, comes slowly. A dominant motif — zigzag stripes ranging up, down and across the canvas — colonizes the surface, establishing it as a realm of aggressively brushed abstract patterns. Then one by one, various incidentals emerge — a densely wooded island, a rocky outcropping, the flat disk of the sun — and suddenly you’re looking at a vertically tilted, crazily Cubistic landscape.

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David Lynch, “Pete Goes to His Girlfriend’s House” (2009)

PHILADELPHIA — “Is Mr. Lynch as compelling a fine artist as he has been a filmmaker?” That’s the challenge Ken Johnson throws down in his New York Times review of David Lynch: The Unified Field at the Pennsylvania Academy of the Fine Arts. And without missing a beat, “The short answer is no.”

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