LOS ANGELES — As a woman who was once a teenage girl, I have a certain fondness for any filmic or visual art that harkens back to that time of intense, unbridled feelings, awkward physical changes, and sexual desires running wild ’n free.
In My Wet Hot Drone Summer, anti-surveillance activists defeating corporate overlords is strangely sexy.
The group exhibition Memory Burn at bitforms gallery, curated by Chris Romero, explores the devices we use to record our lives as we confront mortality and death.
Back in the late ’90s, I considered going to raves.
Faith Holland’s show TECHNOPHILIA at Transfer Gallery left me wanting more, kind of like I imagine a good dick pic would.
What goes West must always return East because New York is still the center of the American art market.
LOS ANGELES — There’s nothing funny about art. Writing art criticism is a serious endeavor. But at some point, the performance of professionalism in the art world just started to feel like one big joke.
LOS ANGELES — Imagine that you are trying to get dressed underwater but every time you lift your arms the water you’re wading through pulls them back down.
MONTRÉAL — In the 24/7 news cycle of BuzzFeed, the Huffington Post, and every other “content producer” on the internet, there is a fine line between news and entertainment.
The selfie exists everywhere that people own smartphones. DIS Magazine’s #artselfie, published by Jean Boîte Éditions, attempts to freeze one aspect of this cultural moment — the art selfie — by parlaying its meaning into a gleaming, print-only book
LOS ANGELES — Benjamin Lord’s grossly delectable photographs, on view in his exhibition The New Retail Mycology at Monte Vista Projects, invite viewers to closely consider the social construction of a landscape.
LOS ANGELES — Artist Jennifer Moon is not the first or the last to experiment with self-surveillance, documenting selfies of her every moment for anyone and no one.