Ken Collins’s portrait of Richard Diebenkorn, used to promote the recent L.A. Louver show of his works on paper, is peculiar in its emphasis on the distance between the camera and its subject . . .

It seems to have been forgotten, in recent years, that the basic relationship of the artist to the world in modernity is one of estrangement.

C. Philip Mills reviews Skinamarink

Genese Grill reviews Henry van de Velde: Selected Essays, 1889–1914.

Patrick James Dunagan reviews Ted Berrigan’s Collected Prose.

“The betrayal of artists by society, their commitment to achieve through their efforts historical feats of the imagination and the myriad ways in which these are undermined, represents the real content of the film.”

Harris Wheless reviews Damion Searls’ new translation of André Gide’s “Marshlands.”

Suzy V reviews Yesiyu Zhao's show "Journey to the West” at David Castillo Gallery in Miami.

Del O’Brien reviews Gala Porras-Kim's show "Correspondences towards the living object” at the Contemporary Art Museum St. Louis

Gabriel Almeida reviews Salman Toor's show "No Ordinary Love" at the Baltimore Museum of Art.

Kevin O’Rourke reviews the album Sons Of by Sam Prekop and John McEntire.

What is contra natura is the dysfunctional rapport that human beings seem to have developed with this cosmic ladder, and that may very well be the source of what’s abusive in the power – whether cosmic, natural, or human.

Is interactivity really the same freedom that art is supposed to help us access?

Charles Ray is unquestionably one of the most powerful and challenging sculptors alive. His recent works presented at the Met carry within them a subtle and expansive understanding of space, a boundless wit and delicacy, and a deep sense of history.

After Effect — James Turrell’s latest “Wedgework” (recently presented by Pace) — takes up this question of the imaginary dimensions of time and space and their relationship to perception, memory, and thought.

The potential of this kind of work lies in its ability to pervert reality. This is not to say distort reality, to make it into a “cruel illusion,” but transform it: to manipulate and reconfigure reality according to one’s impulses and for its own sake.

The two standpoints that Lin has employed in his work, detached nihilism and eclectic mysticism, have been hallmarks of various countercultural strands that, since the 19th century, have tried to deal with the death of God and the crisis of modernity.

There’s this TikTok trend my roommate told me about. You’re supposed to open the book on your nightstand to page 30 and read the first line. Apparently it describes your love life. Murder Suey is the book on my nightstand. In Murder Suey, page 30 is blank.

Jessa Crispin reflects on the 2021 Philadelphia Film Festival.

We seek to utilize the force of our creative ability to fashion a world of our own or thereby change that which is given.