What comes after postmodernism is less interesting than the changed nature of the art system and art writing.
How will the internet transform the way that contemporary visual art is created?
Maria Bussmann’s elusive drawings acknowledge the impossibility of fixing philosophical terms in imagery, like bugs in amber.
Like art, morality persists despite dramatic cultural transformations.
Like his best works, Sean Scully’s “Black Square” is oddly exhilarating, especially because it is initially grim.
To represent the world is to understand it, and to understand it might, hopefully, help cope with a plague.
Leo Steinberg’s compelling essays pull you into the interpretative process, asking you to see the drama he unpacks.
I fear that the visual culture in which these works were admired is now one of those distant “you had to be there” moments, which are impossible to reconstruct.
It’s hard to identify precedents for Christopher Wilmarth’s sculpture, which uses its banal modern materials purely abstractly.
To manipulate the historical record, I would think, is to abandon the search for truth.
Wiley shows us that a Black man can indeed take the place of Napoleon.
All that I saw were some small and medium-sized paintings, mostly very dark, almost indistinguishable. How could I review this show?