While Michael E. Smith’s sculptures and installations draw on conceptual art, his practice centers on the objects he uses, and the messy details of life.
Author Archives: Natalie Haddad
Natalie Haddad is a co-editor of Hyperallergic Weekend. She received her PhD in Art History, Theory and Criticism at the University of California San Diego. Her research focuses on World War I and Weimar-era German art. She has written extensively on modern and contemporary art and has contributed essays to various art publications and exhibition catalogues.
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Richard Aldrich’s Elliptical Paths Through Language
Aldrich brings a rich sense of materiality to a practice founded on the gap between images and language.
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A Homecoming for Mike Kelley and Jim Shaw
For fans of Kelley and Shaw, Michigan Stories is a kind of origin story, a way to decipher the work of two multifaceted and prolific artists.
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The Cosmic Utopianism of Two Fin-de-Siècle Collectives
The exhibition is strongest conceptually when the curators focus on the artist collectives that sought a new social and cosmic order through art.
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Françoise Grossen’s Gift of Quietude
Grossen’s rope sculptures complicate the boundary between art and craft in a productive way.
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Judith Bernstein’s Horror Show
There may be no artist in America better equipped to express the perversity of the Trump administration than Bernstein.
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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.
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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.
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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.
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The Passion and Pain of Carol Rama
Rama’s paintings confront us with empowered female sexuality and insanity.
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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.
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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.