In his essay on Andy Warhol’s 1964 film “Empire,” writer, critic, and public intellectual Brian Dillon turns what many would consider an invitation to deeply nap into an invitation to deeply look.
LONDON — On February 4 from 9 to 11 am the National Gallery of London witnessed the second episode in a five-day strike by museum staff and members of the Public and Commercial Services Union
LONDON — The best works on view in this seven-artist selection are “post-internet” experiments (sorry) that probe the ways in which the internet has reconfigured, and continues to reconfigure, such charged arenas as identity, surveillance, and labor.
LONDON — It’s 10am on the last Saturday of January, and Tate Britain is predictably sleepy. The museum has just opened its doors for the day, and a modest coterie of visitors treads lightly to preserve the morning hush.
LONDON — Two inflatable cobblestones, outsized and dully metallic, hang from the ceiling. It’s implicit: these are material agents of anarchy, the airborne heralds of revolution.
LONDON — Anselm Kiefer’s retrospective comes at an odd cultural moment.
LONDON — In the ’70s, photographer (and videographer, and rigorous cultural critic, and possible genius) Martha Rosler brought a critical eye, politically and philosophically, to the medium’s seductive pretenses of objectivity.
LONDON — Out there in the artistic ether is a flimsy Italian geometry notebook, its yellowing pages pasted over with a series of small, square-format photographs.
Marina Abramović woke up in the middle of the night having entirely reimagined her then-upcoming exhibition at the Serpentine Gallery.