Spearheaded by John Yau, Thomas Micchelli, and Albert Mobilio


Master of Many

by John Yau on February 8, 2015

Philip Taaffe,

There used to be a time when curators could slap a label on a group of artists, claiming the work to be central, progressive, and an important part of their narrative of art history.

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Andrew Schneider in

The roster of simultaneous festivals that regularly occur in January in New York can be overwhelming.

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Post image for House of Cards: The Poetry of Lev Rubinstein

Russian poet Lev Rubinstein (b. 1947) is generally described as a conceptualist artist, and is associated, as a founding member, with the group called the Moscow Conceptualists.

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Beer with a Painter: Terry Winters

by Jennifer Samet on February 7, 2015

Terry Winters,

“Let’s just delete all of that and start over again,” Terry Winters said to me, laughing, mid-way through our conversation.

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Required Reading

by Hrag Vartanian on February 1, 2015

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This week, learning from Skymall’s surrealism, Berlin’s memorials, Orientalism in Montreal, BIG in DC, Renzo Piano in Paris, Japanese memes mocking ISIS, the influence of Joseph Beuys on Abramović, and more.

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Weekend Words: Predict

by Weekend Editors on February 1, 2015

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If you want to work out the kinks in predicting the weather, the Old Farmer’s Almanac offers a number of folk remedies you can try.

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Jeff Koons, “Play-Doh” (1994–2014)

I wrote most of the first two sections of this essay (Part 1) in March 2011, but never submitted it anywhere. I think I lost interest in the subject. I thought I wrote it well before the negative critiques would surely come rolling in, even before Koons’s retrospective at the Whitney in 2014.

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Ann Gale,

As I have written previously, there is a lot of very good painting going on these days. It is just that you are not likely to see much of it at the Museum of Modern Art, the Whitney, or the Metropolitan Museum of Art, at least in recent memory.

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Azealia Banks Jumps Up and Down

by Lucas Fagen on January 31, 2015

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A sizzling keyboard riff slides out of nowhere and bounces around for a few seconds before a metallic snare drum comes in and a woman starts rapping.

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Anne Tabachnick,

We usually describe seeing an object by using the past tense: “I saw.” The emphasis on its foreclosed quality can make us forget how open-ended seeing is. The dynamism of a seen object is every bit as charged as our bodies’ initial physiological responses to it.

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