The talent and tumult of Richard Gerstl’s work beg the question of what would have been had he not ended his life.
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.
Posted inArt
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.
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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.