“I’m not fit to be a mother. There’s something else I’d have to do first — to change myself from a doll to a real human being.” With these words, Nora Helmer (Sarah Wharton) leaves her husband Torvald (Stephen Dexter) at the end of Royston Coppeneger’s new translation of Henrik Ibsen’s A Doll House (2024).

Often, you'll hear a painter mutter enviously while looking at a painting something along the lines of ”Damn. He just did whatever the hell he wanted.” Variations of this phrase were doubtlessly uttered many times over the last month throughout the adjoining galleries of David Zwirner’s 19th Street location, where Raoul de Keyser’s paintings hang on the walls, their apparent haphazardness inoffensively contrasting with the sky-lit gallery space.

Caesura editors Patrick Zapien and Gabriel Almeida talk to Elisa Jensen about her practice.

Caesura editors Patrick Zapien and Gabriel Almeida talk to Jeane Cohen about her practice.

On December 11, 2022, Caesura editors Gabriel Almeida and Patrick Zapien hosted a live-streamed conversation with Bloomington, Indiana-based painter Peter Shear.

On November 20, 2022, Caesura editors Gabriel Almeida and Patrick Zapien hosted a live-streamed conversation with Chicago-based painter Will Gabaldón.

On November 13, 2022, Caesura editors Gabriel Almeida and Patrick Zapien hosted a live-streamed conversation with Bristol-based painter David Abbott.

For moderns, art is the appearance of suffering from the unrealized potential of freedom, i.e., the appearance of freedom’s task.

“From the artist’s perspective, it's the case that all art has to be a reconsideration of art history. Every artwork, in order to find its originality, has to reconsider all of art history.”