Art
Siobhan McBride Unsettles the Familiar
What makes Siobhan McBride's work as a whole interesting is her interest in the ambiguity, suggestibility, and elusiveness of everyday life.
Review
Art
The Wondrously Defiant Art of Contemporary Ceramics
Strange Clay at the Hayward Gallery demonstrates the conceptual and technical innovation of contemporary ceramics with riotously joyful art.
Art
Rosa Bonheur’s Animal Instinct
Her art demonstrates a grasp of animal nature beyond picturesque figures in a landscape or sentimental stand-ins for human emotion.
Art
Yun-Fei Ji's Great Leap Forward
The Chinese painter learned the state-sanctioned style of Socialist Realism and then elected to unlearn it in order to reinvent himself.
Books
Sex Tourism With Statues
Buddhist Art of Tibet: In Milarepa's Footsteps is a cringe-worthy display of “spiritual colonialism.”
Film
Film Looks at Suffering Through the Eyes of a Donkey
EO’s universe seems a godless one; there’s no philosophical reason for the pain that human and nonhuman animals endure.
Art
Charting Photography’s Gender Dynamics
Close Enough: New Perspectives from 12 Women Photographers at Magnum unfolds the complex gender dynamics that women experience behind the camera.
Art
Our Love-Loathe Relationship With Capitalism
When it comes to capitalism, to quote the great Cardi B out of context, “It’s gon’ hurt me to hate you, but lovin’ you’s worse.”
Art
The Church of Secular Art
Bill Viola's installation at a Naples church misses the spiritual mark.
Art
Looking Between the Lines of Max Cole’s Abstract Paintings
In the artist’s exhibition Endless Journey, each tiny, delicate mark reads as a meditative act, imbued with rigorous attention, care, and focus.
Art
Immersing Myself in Helen Escobedo's "Total Environments"
An exhibition at Monterrey’s Museum of Contemporary Art captures what made Escobedo's work so alluring — and the artist herself, as many remember and I imagine her, irresistible.
Art
Not Enough Pressure at the 2022 Kingston Biennial
Limiting the biennial to the first floor of the National Gallery was a lost opportunity to position artworks in response to the country’s social vibrations.