There may be no artist in America better equipped to express the perversity of the Trump administration than Bernstein.
Natalie Haddad
Natalie Haddad is an editor at Hyperallergic and art writer. 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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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.
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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.