Art
Françoise Grossen's Gift of Quietude
Grossen's rope sculptures complicate the boundary between art and craft in a productive way.
Natalie Haddad
Natalie Haddad is Reviews Editor at Hyperallergic and an art writer and historian. She holds a PhD in Art History, Theory and Criticism from the University of California San Diego and has written extensively on modern and contemporary art.
Art
Judith Bernstein's Horror Show
There may be no artist in America better equipped to express the perversity of the Trump administration than Bernstein.
Art
The International Modernisms of World War I
Ephemera provides an important history lesson, especially for a war that is disappearing from America’s collective memory, but the most affective works in World War I and the Visual Arts are those that convey the pathos of the war experience.
Art
The Politics of Adversity in Pope.L’s Flint Water Project
Flint Water Project politicizes the readymade, positing the bottles as symbols of gross negligence and misconduct on the part of city and state officials, and the dire consequences.
Art
Vienna’s Prodigal Son
The talent and tumult of Richard Gerstl’s work beg the question of what would have been had he not ended his life.
Art
The Passion and Pain of Carol Rama
Rama's paintings confront us with empowered female sexuality and insanity.
Art
Making Art from a City's Isolation
At Winnipeg's Plug In Institute of Contemporary Art, art acts as a kind of magnifying glass, exposing the city's unconventional and, at times, undesirable aspects.
Art
The Vertigo of Sturtevant
The artist’s presence in her current one-woman survey at Gavin Brown's Enterprise is like a ghost in the machine.
Art
Preserving Dieter Roth's Ephemeral Art
There’s a discrepancy between Roth’s relationship with his art — so much of which was never meant to last — and its reception by an art establishment that has canonized the late artist.
Art
One Hundred Years of World War
“Wounded Man (Autumn 1916, Bapaume),” from Dix’s portfolio of 50 etchings, The War (Der Krieg), shows a brutal reality that lays waste to George W. Bush’s anesthetized vision of war wounds.
Art
A Forest of Chaos and Control
Trees frequently figure in Oehlen’s work. As a formal device, it allows freedom of invention, but the invention is structured by internal logic.
Art
Remembering Martin Kippenberger’s Self-Performance
His drunken antics and grand gestures amounted to a life that New York Times art critic Roberta Smith once called “an extended, alcohol-fueled performance piece.”