The Gospel According to Paul Pfeiffer

The sculptor and video artist talks mass culture, and Nathan Fielder as performance artist?

Pop star Justin Bieber is no saint — well, actually, in Paul Pfeiffer’s art, he kind of is. In an interview in today’s issue, the sculptor, photographer, and video artist talks about his woodcarved portraits of Bieber in the likeness of Christ on the cross, his imagined million-seat stadiums, and the rituals of mass culture. “Emotion itself becomes the architecture of soft power,” he says. 

All the world’s a stage. No one might exemplify that age-old adage better than the deeply contemporary (and utterly deadpan) comedian and director Nathan Fielder. Also today, Associate Editor Rebecca Schiffman takes on You Can See Everything, his new documentary about Theranos fraudster Elizabeth Holmes. “Is Fielder a documentarian,” Schiffman wonders, “or is he a performance artist playing one?”

—Lisa Yin Zhang, associate editor


Nathan Fielder Is a Performance Artist in Disguise

As an art historian, it’s hard not to relate what you see in everyday life to history — not in the sense that every lily pad recalls Monet or snowballs bring David Hammons to mind, but in the sense that sometimes art really does imitate life. This happened to me recently, maybe 10 minutes into Nathan Fielder and Lance Oppenheim’s You Can See Everything.

I watched Fielder hold painful, prolonged eye contact with Elizabeth Holmes, the convicted fraudster whose eerily large blue eyes seem to enact their own kind of performance. Naturally, I thought of Marina Abramović’s “The Artist is Present” (2010). Perhaps it’s an obvious, pretentious comparison. But hear me out: Is Fielder a documentarian, or is he a performance artist playing one? | Rebecca Schiffman

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New Exhibitions at SITE SANTA FE Including Works by Larry Bell

Legendary Light and Space artist and longtime New Mexico resident Larry Bell presents Improvisations at SITE SANTA FE. Also on view: works by Sara Genn in her first solo museum exhibition that includes a commissioned mural, and a solo show of hyperrealist paintings, sculptures, and billboards by LA-based artist Sayre Gomez.

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Reviews

John Dilg’s Down-to-Earth Reverence

The tranquility of his views, the closeness of his tones, and the evenness of his light bespeak his continual wonderment at existence. | John Yau

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The Artist Who Dined Among Lions

California performance artist Bonnie Ora Sherk was a cultural trickster and proactive spoiler in the business of everyday life. | Brian Karl

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At 60, a Legendary LA Print Workshop Still Urges Us to Pay Attention

From Robert Rauschenberg and Josef Albers to Vija Celmins and Julie Mehretu, artists have tinkered outside their comfort zones at Gemini G.E.L. | David Rubin

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Bold New Books in Art and Visual Culture from the MIT Press

From activist art and trans aesthetics to lowriders, global skateboarding culture, and Vilém Flusser’s prescient vision of the screen age.

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Interview

Paul Pfeiffer on the Spectacle of Politics

“Perhaps the stadium is actually the replacement for the UN as a symbolic gathering point to conduct world politics,” the artist told Hyperallergic in an interview. | Brian Karl

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Memes

Lula Victory Memes That Make Us All Want to Be Brazilian

Images rooted in queer and pop culture and national pride celebrate a progressive win at the polls and a step back for fascism. | Rhea Nayyar

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Member Comment

A sweet ode to a wonderful building! If only America had created more of these soaring, unembarrassed expressions of grandeur. The Chicago Tribune building, San Francisco's 101 Grove and New York's Woolworth were also gracing the American sky, and then, yes, the Chrysler and Empire State. But suddenly all that glorious design was stamped obsolete and we were forcibly constipated by a century of hideous, coercive, chrome cracker boxes connected by suburban stroads. Now we long for a resurrection of architectural humanism.

— Denny Smith on "The Cathedral of Learning Is Pittsburgh’s Secular Temple"


featured opportunity

Baton Rouge Gallery, Center for Contemporary Art — Surreal Salon 19 Open Call
The annual exhibition celebrating the pop-surrealist/lowbrow movement will share the work of over 60 artists who are hand-picked by juror Lauren YS. $2,000+ in prizes and a Best in Show feature in Beautiful Bizarre Magazine. $35 application fee.
Deadline: November 7, 2027 | wearecreativewest.org


From the Archive

The Evolving Designs of US Voting Ballots

This Is What Democracy Looked Like by Alicia Yin Cheng is the first book of its kind to look at the history of ballot design. | Emily Wilson

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