The artist’s presence in her current one-woman survey at Gavin Brown’s Enterprise is like a ghost in the machine.
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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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.
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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.
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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.
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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.”
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Saying Goodbye to a Visionary Eye
The Susanne Hilberry Gallery was a gateway to the art world that lay beyond Detroit as well as a kind of training ground where artists, art students, and art critics could learn to view and interact with artworks critically.
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The Twilight States of Jonathan Meese
Since the early 2000s, Jonathan Meese, who is based in Hamburg and Berlin, has cultivated a persona as a propagandist for what he calls the Dictatorship of Art
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Kate Levant’s Invisible Systems
Simultaneously sparse and immersive, Valerian Dials for Trembling Hands evokes the stillness of an ocean after a shipwreck or storm.
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Kate Levant’s Chicago Witches
Formally, Kate Levant’s work has become more rigorous and complex since Blood Drive, and the art-activism of that show has given way to encoded references touching on sociopolitical issues.