Artists, collectors, curators, and dealers are all needed for the system to function, but the role of critics is up for grabs.
Delirious at the Met Breuer is an exhibition filled with beautiful but comparatively polite works by habitually transgressive artists.
I suspect that those in the flow of the globalized 1% who advocate art for money’s sake are purposefully ignorant of Ursula Meyer’s key 1972 proposition.
Yve-Alain Bois’s book Painting as Model was written twenty odd years ago and continues to be an important text, providing conceptual fodder for many contemporary art practices.
The archives of Partisan Review, the totemic 20th-century journal of politics and the arts, have finally been fully digitized.
PARIS — The post-media suggestion itself has been the subject of deliberation for around two decades now. This audacious anthology cleverly brings some of these historical texts together, along with newly commissioned ones, to explore the shifting ideas and speculative practices associated with the idea of post-media.
This week, Catherine Opie fatigue, Yayoi Kusama, David Shrigley, tall buildings and economic downturns, post-structuralism, LA architecture and color theory for kids.
A golden nugget from James Kalm’s Facebook profile page and the birth of a fantastic new term, “vaginal surround sound.”
At its best, modern art begs the question, “Is this art?” There is a death wish that threads modernity – death of God, death of the author, death of history, even the death of the modernity itself (the post-modern) but perhaps most insistently of all, is the existential interrogation that is modern art.
This week we are pleased to publish an essay by sculptor and blogger John Powers about the relationship of death, sculpture, and modernity. The essay, titled “Art, Not Suicide,” wrestles with Rosalind Krauss and her influential essay “Sculpture in the Expanded Field,” as a starting point and asks, “What is the role of death in modern sculpture?” What he finds may surprise you.